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Continuing our look at the final pre-reboot Superman stories of the 1980s that aren’t by people named “Moore” or “Gerber,” we now come to World’s Finest #323, cover date January 1986:
It’s by Joey Cavalieri, José Delbo and Alfredo Alcala, and it’s pretty safe to say here Alcala is the star of the show, with his inks applying some heavy texture to the events within:
And check out this swell pic of ol’ Supes himself:
Here’s a close-up, and please, try to avoid swooning:
Anyway, the story has to do with a magical darkness enveloping Metropolis and both Superman and Batman work their separate angles trying to solve this mystery. Of most import to the purpose of this issue, Superman finds himself overwhelmed by the mystical menaces that lurk within the shadows:
But things work out in the end, the bad guy (and bad wolves, no relation) are defeated. However, Batman has some words for his partner:
I mean, it’s only that the cover has the words “THE END” in big, bold letters, and shows Bats and Supes waving goodbye to each other, that we read “oh no, has the World’s Finest team broken up for good?” into this. On the face of it this isn’t a “we’re breaking up” speech, but a “c’mon man, get your act together” one.
However, this is the last issue, and this version of Superman is going away forever (while Batman, with minor adjustments afforded by Frank Miller’s work on the character, is Eternal) and thus it’s time to put a cap on this comic that’s run continuously since 1941:
The story gets a tiny bit metatextual in specifically referencing the real world passage of time in regards to the length of the series’ run. And it’s not a happy ending, in that our heroes’ partnership, while not necessarily dissolved, now has some points of contention in the mix. Which of course sets the groundwork for the New Status Quo being brought in by John Byrne for his revamping of the Superman franchise.
If this all sounds just a little familiar, it should because I discussed this very thing, like, two months ago. I feel justified in repeating myself in that DC is repeating itself as well, in that it had introduced a breaking of the Superman/Batman team (with events surrounding Batman and the Outsiders) and resolved it in an extra-sized World’s Finest #300.
We don’t get that resolution for this later iteration. The issue comes to an uneasy conclusion, “the battle’s done, and we kind of won” if you’ll forgive the quote from the musical Buffy the Vampire Slayer episode. And that tone continues for quite some time, emphasized specifically in Byrne’s version of the relationship, and it takes several years before the two are canonically friends again in current DC Comics.
Outside the aforementioned Moore and Gerber stories, this may be the only “regular DC pre-Crisis continuity” story that actually tries to…well, not so much “wrap things up” as “straight up end” its particular piece of the shared universe. It’s a slightly sour note made the more-so in that it’s a precursor to how things are going to be vis-à-vis the Superman and Batman team, at least for a while.
Time to continue my look at the next-to-last issues of the Superman books…of course, after Action #582 and Superman #422, the final issues before Alan Moore’s conclusions those series. After the main ongoings, there’s not a whole lot left, but there is the team-up title DC Comics Presents.
Written by Blue Devil’s cocreators Dan Mishkin and Gary Cohn, and illustrated by an art team I’ve never seen in the combinatinon before: Joe Staton on pencils, Kurt Schaffenberger inking. The results do look nice:
.Also a nice touch is Superman just calling Blue Devil by his real name, Dan, which he does a couple of times through the book. It’s a friendly expression of the position the two hold in relation to each other, with Superman as the experienced pro and Blue Devil as the starry-eyed newbie.
The villain of the piece is Terra-Man:
…one of Superman’s somewhat…sillier members of his rogues gallery, who…well, I’ll let the comic explain:
I mean, I suppose when you get right down to it, “Space Cowboy” is no goofier than “Evil Toymaker” or “Magical Imp” as adversaries. But with his flying horse and his ray-gun six shooters and other Old West-themed sci-fi tech, he at least makes for a visially interesting bad guy.
And this is his last appearance, at least in this form. “Space Cowboy” doesn’t make the transition into the post-Byrne reboot milieu, with the new Terra-Man being a businessman using magical abilities with the goal of protecting the environment. Which sounds noble an’ all, but of course his methods run afoul of Supes and, well, it’s not quite as fun and silly as the classic version. Especially since the new Terra-Man is just straight up murdered by Black Adam, which isn’t fun at all and let’s get back to this story.
Anyway, Terra-Man has some scheme to divert a space train (which looks just like a regular terrestrial train, but it flies, because why not) to Earth to rob it, and there are lots of robots and space menaces and such that divide Blue Devil and Superman’s attention, and it’s all colorful and entertaining. Of note is this particular shot, when Blue Devil is on Terra-Man’s horse right behind him:
That’s a good pic, I think.
Everything works out in the end, natch, with Superman slightly uncharacteristically holding Terra-Man up so that ol’ BD can deliver a punch to his puss:
Now this was just an entertaining team-up, bringing together one of DC’s primary heroes with one of the publisher’s newest characters. There’s no real sense of…well, “import” isn’t quite the word I’m looking for, and “foreboding” carries a connotation that’s not really appropriate. Like the previous two stories I’ve discussed, there’s no sense of “well, this it is, this is the last time you’ll see Superman and his supporting cast in this form,” even though it is.
However, the last panel does end on this note:
“Riding off into the sunset” of course plays into the Old West-iness of it all given Terra-Man’s involvement, but in retrospect it’s hard to not read that as the Very Idea of What Superman Is at This Moment riding off as well.
The next, and last, issue is Steve Gerber and Rick Veitch’s conclusion to one specific section of the Superman legend, as they address the Phantom Zone in a sequel to Gerber and Gene Colan’s Phantom Zone mini from a few years prior. It’s a much more grim and nightmarish scenario than the wacky Blue Devil adventure, and seems to be the forgotten “Final Pre-Byrne Superman Story” as the focus is usually entirely on the Alan Moore/Curt Swan “Whatever Happened to the Man of Tomorrow?” two-parter.
It’s a good comic, but very dark in tone, so it’s probably only proper that Superman had that one last wild team-up with Blue Devil before closing the doors and putting up the chairs and making room for the new regime.
I’m continuing my look at the last pre-Byrne reboot Superman stories not by Alan Moore or Steve Gerber. Last time was Action Comics #582, and now here’s the other ongoing solo title, Superman #422 from August 1986:
I’m pretty sure you’ve seen that Brian Bolland cover before…probably one of the most striking in Superman’s history, and I promise you if you were scanning the shelves the month that came out, your eyes would’ve gone right to it. And if you didn’t throw it into your “buy” pile you had a stronger will than I, as I definitely dropped some coin of the realm on it.
I’ve written a little about this issue before, in an article I wrote for another site back in 2006 but I’ve since reprinted here. I didn’t really say much about the story itself, focusing instead on that masterfully worrisome if potentially misleading cover.
The story in this issue is written by Marv Wolfman, channeling his Tomb of Dracula-era scripting powers to give up some horror-toned captions for the opening pages of this issue:
As you can see, we’ve got ourselves a werewolf in Metropolis. And it’s not long before Superman investigates, and he and Mr. W. Wolf get into a scrape. Superman is injured, so he concludes
And he heads to his Fortress of Solitude to run data on his super-conmputer, but not before thinking
…which, um, excuse me, Mr. Superman, wasn’t one of your former girlfriends an actual mermaid? And of all the wild stuff you’ve seen and experienced, you’re drawing the line at “werewolf?” C’mon, son.
Anyway, we get more clashes with said werewolf, in which we get the reason for that cover:
…as well as some shocking, at leaset for a 1980s Superman comic, nudiness from our star. Though the Comics Code-mandated crosshatch shorts in that one panel don’t convince the eye very well that it’s supposed to be shadows, but What Can You Do?
Anyway, if I may spoil the surprise twist here, it turns out there’s a cadre of scientists who somehow created a serum to turn people into werewolves, including themselves. Thus, the supernatural “magic” aspect of Superman’s injuries in battle had a scientific origin, which…blurs the whole “Superman is vulnerable to magic” idea at work here, which is addressed in-story:
…so I guess Science just created a magical werewolf? Or something? there’s some handwaving going on in here trying to justify it, but man, I don’t know. But like I suggested to Superman above, I suggest to myself “I’m drawing the line here?”
Ultimately, Superman defeats the werewolf scientists with the help of that first werewolf we met, who was actually on the run from those scientists, and wasn’t a bad guy after all. Just under the thrall of a science-y magical lycanthropic formula potion. These things happen, I guess.
Along the way we got another batch of nice Curt Swan art, because it’s always pleasant to see his work, even if the disparity between Wolfman’s 1970s-horror-comics-style somewhat overwritten captions contrast with Swan’s generally bright and cheery style. It all looks fine and professionally done, of course.
The big surprises are theh inkers…well, Larry Mahlstedt in my mind is more associated with his finishes on Keith Giffen’s pencils over in Legion of Super-Heroes, but at least he’s from within the superhero genre. It’s Tom Yeates also doing some inking that seems pretty wild, given his prevalence in other genres. Particularly horror, since he did draw about a dozen issues of Saga of Swamp Thing prior to this. But that’s probably one of the reasons he’s on this issue, to provide a little moodier tone to the art. …Or they needed to finish these pages and he was available. Either/or.
This story gives us kind of our final “magic hurts Superman” story for the pre-Crisis era, blurred definition of “magic” or not. The Byrne reboot does establish that particular vulnerability again, I believe with the reintroduction of Mr. Mxyzptlk in Superman #11 in 1987. It’s that blurriness of definition that’s interesting, expanding the range of what can or can’t hurt Superman to a certain extent. But it’s more likely that, if the Super-titles had continued on as-is, that specific idea would have been dropped.
Unless there’s the implied idea that Mxyzptlk’s powers are simply based in a physical science far beyond ours given his fifth dimensional origins, on top of Arthur C. Clarke’s “any sufficiently advanced technology is indistinguishable from magic,” but let’s save that for another time.
‘Til then, let me leave you with this panel that I, as a long-time comics blogger, find very relatable:
So everyone knows the last issues of Superman and Action before the Byrne Reboot of 1986: Superman #423 and Action #583, the two-part send-off to the Silver/Bronze-Age version of the Man of Steel, written by Alan Moore and drawn by Curt Swan, Kurt Schaffenberger, and George Pérez. It’s a classic story, giving a final wrap-up to all the important supporting characters, heroes and villains and clearing the slate for the new version of the franchise.
But before that happened, we got the last two regular ol’ Superman stories to appear in his two ongoing solo series. Today’s topic is the story in Action Comics #582 (cover date August 1986) by Craig Boldman, Alex Saviuk and Schaffenberger:
“REBIRTH” it says there, presaging DC’s later use of the term for the 2016 more-or-less soft relaunch of their superhero line. It’s a pretty striking image, drawn by Saviuk and Murphy Anderson, very much one of those “what the heck is going on here” covers that the industry used to do so well, inspiring the curiosity to pick a book off the shelf…which is halfway to buying the darn thing. NO BROWSING, THIS ISN’T A LIBRARY and I used to be a librarian SO I KNOW
Anyway, the focus in this issue is the possible revival of Superman’s parents, Jor-El and Lara. Supes discovered that a couple of extra brain waves were stored in his head, so he goes to an alien civilization next door to borrow a cup of advanced technology to get those patterns embedded into bodies of their own:
And, voila, his actual biological parents are back!
[SPOILER] Of course, they’re not it’s part of a scheme by some alien no-goodniks, though we get a bit of business with Clark introducing them as his real parents to his friends:
…kinda makes me wish the return of Jor-El and Lara was actual, in-universe thing. Imagine Lois thinking “hmmm…every time Clark, Jordan and Lora disappear, Superman, Jor-El and Lara appear. I wonder….”
So okay, it wasn’t actually them, but this issue functions as a last hurrah for the Kryptonian heritage we once knew, John Byrne will be introducing a radically different version of Superman’s birth parents in the very shortly forthcoming Man of Steel mini-series:
…along with a new vision of Krypton:
While Action #582 doesn’t play up the import, it is nice to get this last glimpse at what was before getting the new What Is. At least for a while, before the new car smell of the reboot wears off and efforts are made to put the pieces back where they were before Byrne came along.
NEXT TIME: the last pre-reboot story in Superman that isn’t the Alan Moore one!
So just as a brief follow-up to the Secret Identity talk over the past week, I wanted to mention the time Superman exposed himself to Jimmy.
Yes, like with Lois, there were plenty of times in the past where Jimmy found out the secret, but it was undone or the memory was wiped or whatever by the end of the story and all is good. But post-reboot, cheats like that were mostly avoided and when stuff happened, consequences were had and continued on through future stories.
Aside from the inherent “cheats” of reboots/relaunches themself, which is how the next situation is resolved. In Superman #38 (2015), well in the midst of the New 52 reimagining of the character, Superman’s need for a confidante has him decide to let his best pal Jimmy in on his double identity:
Like the reveal to Lois, this was a long time coming. Also like Lois, this was shortly after a reboot of the character, so the “finally, after so-and-so many years” is muted somewhat. This ain’t Silver Age Jimmy finding out, it’s Nu-Jimmy, part of the semi-ill-defined New 52 era. It should be an exciting development, but…it’s not the real Superman, if you know what I mean. Plus, that costume, yuck.
I know I’m opening up a can of worms with the “real Superman” comment, as there may still be people out there holding a grudge over the 1986 reboot supplanting the Silver Age Man of Steel. And despite the huge sales early on, there was some resistance to Byrne’s new version of Superman, how he didn’t have the, I don’t know, inherent authoritative qualities vis-à-vis his position in the DC Universe. As time has gone on, though, especially with the readable, competent work put into the franchise over the decades, we ended up with a character that is that Superman.
Then in 2011, with the New 52 line-wide initiative from DC, which ranged from “almost no change at all” to “forget everything you knew before!” in its impact on the books, we got essentially a new relaunched version of Superman. If it wasn’t clear what was and what wasn’t part of the character’s new continuity, don’t feel bad, even the people who worked on the book weren’t quite sure. (George Pérez, who was writing the relaunched Superman title, famously had complained he couldn’t get a straight answer as to whether or not Ma and Pa Kent were still alive.)
Not to say there wasn’t good work in the relaunch (Grant Morrison’s Action run, set during Superman’s earlier years, remains solid), but this was a new version of the character, seemingly distinct from the version given us by the 1986 reboot.
Thus, going back to the topic at hand, this is why the Jimmy revelation isn’t quite as impactful as one would like. Also, not long afterwards in the New 52 run, Superman’s identity gets exposed to the world (resulting in a storyline that, as I recall, was actually pretty good), so Jimmy being the only one with the secret doesn’t last terribly long anyway.
And then all that is more or less undone with, as I said before, a “cheat,” as DC’s next publishing initiative, “Rebirth,” eventually does away with the New 52 version of Superman and reinstalls the 1986 reboot version. Complete with Lois still knowing Clark’s secret, the two of them being married, and oh yeah, they have a kid now. It’s a complicated sequence of events reintegrating the post-Crisis Superman into the post-Flashpoint/New 52 Rebirth era (phew!) of the DC Universe, but they manage it somehow and everything is about as “back to normal” as can be expected.
Then Brian Michael Bendis comes along and redoes the whole “Superman reveals his secret to the world” story, but maybe I can address that at a later date.
Just as an addendum, I wanted to point out this panel in #12, the final installment, of Grant Morrison and Frank Quitely’s All-Star Superman, a series that exists as its own thing and outside the regular DC Universe continuity. In this issue, Superman has supposedly disguised himself as Clark Kent in an attempt to get one over on Lex Luthor. Anyway, stuff happens, and Jimmy brings out a spare costume, saying this:
That little bit of hesitation before the word “disguise” always read to me as Jimmy realizing full well that Clark Kent is Superman, but is keeping up the pretense for his best pal. Nothing more is really said about it, since as noted this is the last issue, and maybe I was just stating the obvious here, but I liked that little touch. If, in fact, that’s what’s happening. I like that it’s open to interpretation.
So when we last met, Derek said about the cover to Action Comics #662 that it “might be my favorite Superman cover of all time.” And just as a reminder of what that was:
Yeah, that is a good cover. Drawn by Kerry Gammill and Brett Breeding, it certainly stood out on the stands.
Given how there were more than a handful of pre-Crisis stories revolving around the idea of “Superman’s secret identity — revealed!” I suspect there was some level of skepticism to this plot twist. Countering that is the fact that the post-reboot Superman stories were more of a continuing soap opera than the earlier one-shot stories where any big changes were undone at the end. As such, I feel like folks at least figured Lois knowing Clark’s secret would last for a storyline and be undone somehow.
Well, that wasn’t the case, as we know. And interestingly, falling in line with my assertion that the new paradigm is that Lois learns/confirms Clark’s double-life early on, the above comic was released in early 1991, less than five years after the 1986 relaunch. I mean, it depends on how you’re counting, I suppose. In terms of Superman’s overall history, outside of relaunches, reboots, Silver and Golden Ages, etc., it was 50-something years coming.
So the actual event itself, ballyhooed so much on the cover, doesn’t happen ’til the last couple of pages of the book. In continuity terms, Lois and Clark are in love and engaged to be married, and he decides “well, uh, I guess I’d better tell Lois about my side job,” and here we go:
And this was the time of the multiple Superman titles running as essentially a semi-weekly comic, with stories flowing consistently from one to the next. In this case, Action #662 continues into Superman #53:
…which, unlike the spoilery cover for Action, gives no clue as to the import of the story inside. (In fact, I was looking at this issue’s listings on eBay and I didn’t see a one that mentioned the I.D. thing…either that’s not considered an important selling point or none of these sellers have ever cracked opne a comic.)
Inside we get essentially a repeat of the final splash page from the Action issue:
I certainly appreciate the attempt at consistency in world-building here, making Lois’s place look mostly the same between Bob McLeod’s portrayal in Action and Jerry Ordway and Dennis Janke’s in Superman. Even down to the cat! The TV/bookshelf thingie looks like it’d been remodeled a bit, however.
Lois has a measured response, as from this excerpt:
…which is certainly a contrast from her response in Action #597 shown in my last post.
Part of it is Lois and Clark are in a different relationship now than before, but Lois’s portrayal has certainly been softened since the early hard-as-nails version from the initial issues of the Byrne reboot. Which is fine, and I can’t recall my specific reaction to reading these stories in real time, but I imagine the character’s progress worked well enough to make the romance an’ all acceptable to readers. Plus, it’s Supes ‘n’ Lois, they’re supposed to be together.
As a side note, notice that both those covers above have a Roman numeral “II” near their issue numbers, which indicates these are second printings. These comics weren’t, like, “Death of Superman” hot, but at the time, due the revealing of the I.D., they were quite in demand, causing DC to go back to press. I haven’t actually seen second prints of these in the wild in quite some time, maybe not even since they were released, so it’s possibly they’re very hard to come by. Not that prices seem to reflect that, given my brief eBay sojourn looking these up.
So I talked about the “Supergirl’s Husband” story last time, about how it wasn’t as bad as I’d recalled it being. I mean, it’s not the greatest Superman story ever told but as a weirdo hybrid of modern storytelling demands and the Bronze/Silver Age milieu in which the Super-books still existed, it remains a fascinating example of where this particular franchise stood in those about-to-be-rebooted-away days.
The previous issue, however…
…well, it’s not awful throughout, but it ends on a really sour note that affects my opinion of the whole thing.
The most notable happening in this comic is the elaborate-if-easily-foiled-by-opening-a-door computerized contraption that uses its mid-1980s A.I. to generate believable Clark dialog while occasionally telling you it’s totally fine to eat fugu liver:
This is what I mean by the Superman books still being under the long shadow of the Silver Age. The wild elements and behaviors from that period continue on, even as the genre “matures,” with plot points like “Superman’s out-there ways of protecting his secret I.D. from Lois” sitting side-by-side with attempts at more modern storytelling sensibilities.
(I recently noted online that Superman media adaptations have increasingly done away with the idea of Superman trying to withhold his secret from Lois, possibly a reflection of the fact this is no longer a thing in the comics, or more likely just out of the feeling that aspect of the relationship is outdated.)
Another element of “modernization” bringing Superman comics in parity with 1960s Marvel is some of the overly-chummy captions, that “greetings fellow kids” really, really hard:
A total slam on Bulgaria completely out of nowhere, C’mon Julie.
And I just have to bring this up, as one of the alien antagonists for this story has an annoying speech pattern, one not shared by his fellow alien from the same species that’s his partner in crime. So the dude deliberately choose to talk like this:
“I have it with me…in this file I do have it!” “As we planned! Planned it we did!” AUGH SHUT UP ALREADY
Speaking of those guys, the story generally revolves around them (representatives of the Superman Revenge Squad) invading New Krypton (the planet upon which the formerly shrunken Bottle City of Kandor was expanded) and causing some havoc. But the early parts of the issue are more explicit tie-ins to Crisis on Infinite Earths, opening with Superman’s grief over the death of his cousin Supergirl, and proceeding to fly around a bit with the Superboy of Earth Prime:
Wait, that comes later. This story features the character in more innocent times:
…before he’s whisked away yet again by a mysterious cosmic vortex that…was there an explanation for that? I seem to remember it happening in the series and folks were all “where did that come from?” and it’s been so long since I last reread it I can’t remember if there is a reason for those. If you can enlighten me, feel free.
This comic concludes with Superman bringing Supergirl’s body to her parents on New Krypton, wrapped up in her cape. And I suppose Superman did a good job of wrapping, or Zor-El is in complete denial, because he says, well….
And we close ther issue with a nice, tasteful scream of anguish…
…accompanied by the almost certainly deliberately Vonnegutian “So it goes….!” which, I mean, c’mon, there’s a reason it’s used in Slaughterhouse-Five, I don’t think that’s quite earned here. Unless it’s some form of metacommentary on Crisis‘s then-ongoing slaughter of parallel universes and the countless lives therein, in which case, Elliot S! Maggin, I salute you.
But despite that, that final panel is…urgh. Kinda gross, to be honest, with that terrible cry across the top of the image. Better to have just shown the exterior in silence, I think, but forty years on may be a bit too late to do a little armchair editing.
The whole comic very much feels like “we’d better address what’s happening in the DC Universe at large” in a book that had largely charted its own course without many interactions outside its specific character franchise. That, of course, was a common element across most of DC’s superhero line, one that I think was hoped to change with the New, Fresh Start afforded by Crisis.
Following the Crisis tie-ins the Superman line mostly went back to business as usual, until the conclusions afforded to the main ongoing titles written by Alan Moore and Steve Gerber. Then along came the Byrne reboot, which I’ll be getting back to here shortly.
I did get around to rereading this “Supergirl’s Secret Husband” issue of Superman, which I remembered as bad…
…but it turned out to be…okay-ish? Not as bad as I’d remembered, given I probably haven’t read it since around the time it was released. I still have my copy of it, bought new off the stands, and still in nice shape, which sort of surprised me, but then again I only read it once or twice so it’s not like it experienced a lot of wear.
This is marked on the cover as Crisis on Infinite Earths crossover, and…well, it’s more of one than some other similarly-marked books from the time. In this ish, we find out that, during a bout of amnesia and being stranding on an alien world, Supergirl met and fell in love with a resident there, Salkor. You can see Salkor below:
I’m not going into every detail here, but in short Supergirl regains her memories and returns to Earth, and…well, I’ll let here tell it via post-death hologram message:
So anyway, this “Hokku” she’s talking about is a device that she’d kept with her, one that retained her memories and such and Salkor wanted it back. But Superman was all “she’s my cousin, I’m keeping it” and thus the conflict proceeded until a giant robot thing shows up and they must unite to…well, you know.
Then at the end the Hokku displays a hologram of Supergirl as per the above scan and sets everything right, except the fact that she didn’t try to get back to Salkor after regaining her memory or even asking Supes “hey, turns out I’m married, help me contact my husband, right?”
But as egregious additions to the Superman mythos go, it’s not as bad as some things. Given the proximity to the eventual slate-cleaning by John Byrne ‘n’ pals with the Superman reboot, there’s not much opportunity to refer to this marriage or to even bring back Salkor for a guest spot (“Appearing in this issue: Supergirl’s Widower!”), so the impact is relatively nil. It’s almost…Silver Age-y in its presentation, outside the more modern Big Event Tie-in elements, which is sort of fitting given that Crisis, and the Byrne reboot, put a pretty solid cap on that era’s influence on Superman. Not that Silver Age stuff doesn’t get reinserted into newer stories, but it’s usually more a nostalgic reworking than just a natural expression of Superman comics’ DNA.
So this comic is fine, when all is said and done. Not a prime example of Superman comicking, but certainly a passable example of the end-of-days weirdness for the Super-books prior to their relaunch.
But the previous issue, #414, which is another Crisis tie-in…well, I may have been remembering the wrong Superman comic as the “bad” one all these years. But I’ll get to that next time.
So, a couple of follow-ups:
First, in regards to Amadeus Cho’s explanation for the Hulk avoiding death tolls in his rampages, I said I wasn’t sure if that was per an editorial edict or not. Turns out over on Bluesky, the fella what wrote that comic, Greg Pak, straightened things out saying that it was all him making that decision, not anyone higher up.
Granted, I’m sure the Marvel high muckety-mucks were glad to have something to point to and say “see, our hero who is in Avengers movies and makes us lots of money is not a killer.” And frankly, I’m glad of it too. It’s fun to see Hulk smash up buildings and punch tanks, it’s not quite as much innocently-violent fun (usually) to think about him murdering people in the process. Just one of those “willing suspension of disbelief” deals.
I did just reread the Garth Ennis/John McCrea Hulk Smash two-parter from 2001:
…and in the series, Hulk fights the army, natch, and it is very heavily implied that several soldiers are killed in the process.Tanks are smashed, planes are blown up real good, and you do see men scrambling out of hatches or parachuting to safety. However, deaths are implied in dialog, but there is perhaps enough wiggle room to claim that soldiers have survived but are out of the battle.
Chris K noted the 2001 Startling Series: Banner series by Brian Azzarello and Richard Corben:
This was an out-of-continuity story that, I have to admit, I haven’t read probably since it was released, but it does tell the story of a Hulk who does leave a body count in its wake. As I recall, it’s dark and a little depressing, so if you had a killin’ Hulk on a regular basis, that may be what it’d feel like.
• • •
Again on the Bluesky, I
quote-posted famed comics writer Kurt Busiek, because he was talking how DC Comics missed an opportunity by not going wild with out-there storylines right before
Crisis on Infinite Earths swept threw and reset everything.
He mentioned as an example of DC kinda/sorta half-heartedly doing that sort of thing was “Supergirl [getting] married in a story no one remembers.” Well, I remember it, because I bought that very issue new off the shelf back in late ’85:
Now this was by Cary Bates, Curt Swan and Al Williamson, and I haven’t read it in forever, but my memory is that it was…not good. I mean, nothing wrong with that creative team, of course, but the story itself seemed misguided and, well, weird.
As per this Wednesday post, I’ve been reading a lot of late-era pre-Crisis/pre-Byrne reboot Superman comics. I keep avoiding this particular issue as I recall not liking it, but talking about it this much may have be revisiting it sooner rather than later. Anyway, I did hit on kind of a similar point in that past post, which I mentioned to Mr. Busiek, about Steve Lombard’s progress as a character this late in the game was curtailed by Crisis and the reboot.
Busiek’s response was that around this period, DC was producing Superman story inventory for overseas publication, and then trying to use them up in the U.S. comics, so that actual permanent continuity changes were tricky to pull off. Now, I know DC did release stories in other countries that were eventually reprinted here, such as every issue of the Superman Special, as well as the proto-graphic novel Superman Spectacular.
The Grand Comics Database is usually pretty good in noting when a comic is reprinted from another source. But I can’t find any of the late pre-Crisis era Superman and Action books noted as initially coming from an overseas publisher, while the examples above do. Doesn’t mean they don’t, I just can’t find info confirming it. It would be interesting if that were the case, so I’ll have to look further into it.
Okay, first off, before I get into the rest of the post, I want to get this link in here because I was dumb and forgot last time. Old pal Mark, co-creator of Fake AP Stylebook on what used to be Twitter, and co-editor of the spinoff book Write More Good, can use your help.
Mark is currently in an uncomfortable living situation and needs some funds to rehouse himself. He’s reached his stated financial goal, but he can use more scratch just in case, you know? Please contribute if you can:
Thanks for anything you can do.
• • •
Not that I don’t have enough physical comics piled up to read, after being behind for the last several years, I’ve been using the DC Comics digital comics app to look at some old stories I may have missed, and revisit some books that I gave up to the shop/don’t feel like digging out of my boxes at home.
Since I’ve been on an Armored Lex kick lately, I reread this three-parter, probably for the first time since it appeared in print back in 1985:
That’s the middle chapter of a story that ran in Superman #410, #412 and #413 (#411 was a surprise issue celebrating Superman’s editor Julius Schwartz), written by Cary Bates, illustrated by Curt Swan and Al Williamson, covers (which I liked!) by Klaus Janson.
I’ve written before about different inkers’ effects on Swan’s pencils, but I was struck by the expressiveness in the faces here in this particular sequence of panels from #412:
Isn’t that nice? Those are some good looks from Superman that you don’t normally see.
But what I wanted to mention for sure here was…well, let me give you a brief set-up. The story is about Clark reporting on an event Superman was involved in, only it turns out Superman imagined said event and it makes it look like Clark fabricated the whole thing. Clark is fired, and his reputation is shot so he can’t get another reporting job.
Obviously this is a plot by You-Know-Who, but Clark is left adrift in the meantime. As such, he pays a visit to another former Daily Planet/WGBS employee, Steve Lombard, who is currently running a sporting goods store. As you recall, Steve was the one continually pulling pranks on Clark in an attempt to pick on him (pranks that usually backfired due to Clark using some super power or ‘nother).
Now, the digital archive is incompelete for the Super-books, and my own memory of the stories from the time is a little spotty, so I don’t recall the circumstances of Steve losing his job, or on what terms he and Clark were on. But in this particular issue, we see the characters reunite:
…and Steve’s tomfoolery aside, it looks like the two get along just fine. They are genuinely pleased to see each other, and in fact Steve gives Clark a part-time job.
I thought this was a nice bit of character growth for Steve after, what, a decade or so of him being a pain in Clark’s rear? It feels like some of his arrogance has worn away, laughingly admitting his own foolishness in the panels above. It’s a real shame this is butting right up against the Byrne reboot, which would wipe this all away, as I would have liked to have seen more of this mildly less-obnoxious Steve Lombard. Ah well.
• • •
And here, since this seem relevant to the
recent Superhero Violence post from the other day, is a
panel found by Bluesky pal WormDrivePRO. From
Spectacular Spider-Man #118 (1986) by Peter David, Mike Zeck and Bob McLeod, comes this inversion of the “Abandoned Building Battleground” trope:
Huh, just like Thom H. said!
WormDrivePRO is a good follow if you like nice big scans of curated comic panels. It’s a fun feed that I recommend!
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