________________________________________________________ T H E K R Y P T O N I A N C Y B E R N E T _______________________________________________ http://www.ms.uky.edu/~sykes/kc Issue #27 - July 1996 ________________________________________________________ In Loving Memory of Curt Swan ________________________________________________________ CONTENTS -------- Section 1: Superscripts: Notes from the Editor Curt Swan, Super-Heroines News and Notes Tooning In Info about the upcoming Superman series, by Jeff Sykes Into the Darkness Info about and checklist for The Final Night, by Jeff Sykes Section 2: Good-Bye Superman -- A Tribute to Curt Swan Swan's Grace, by Brian Saner-Lamken Farewell from the Fans Section 3: And Who Disguised As... Swan Song, by J.D. Rummel Rave Revue Karl Kesel and Steve Mattsson about SUPERBOY & THE RAVERS, by Brian Saner-Lamken The Metropolis Library A mixed bookbag by Isaiah J. Campbell Section 4: Just the FAQs "Can Superman Breath in Space?", by David T. Chappell Superman - The Serial A new column focusing on the first live-action adaptation of the Man of Steel on the Silver Screen, by Steven Younis Section 5: Reviews The "Triangle" Titles Superman #114, by Ken McKee Adventures of Superman #537, by Anatole Wilson Action Comics #724, by William J. Nixon Superman: The Man of Steel #59, by Art LaMarche Section 6: Reviews Other Super-Titles Superboy #30, by Art LaMarche Steel #29, by Dick Sidbury Showcase '96 #7, by Rene' Gobeyn Annuals, Miniseries, and Special Appearances Superman Annual #8, by Art LaMarche Eradicator #1, by Rene' Gobeyn Section 7: Reviews Miniseries and Special Appearances (cont) Kingdom Come #2, by Rene' Gobeyn New Gods #10, by Rene' Gobeyn After-Byrne A Tribute to Curt Swan, by Mark Lamutt Manuscripts of Steel Legends of the World's Finest, by Denes House Merchandise Section 8: The Phantom Zone The Girl Friend and the Pal Lois Lane Giant #113, by Jon B. Knutson Into the Archives Superman #6, by Neil Ottenstein TELEscopic VISION: Superman on the Small Screen Atmosphere on the Lois and Clark Set Section 9: TELEscopic VISION (cont) 4th Coming A Season 4 wish list, by Zoomway Episode Reviews #3-12: "Never On Sunday", by Shane Furlong #3-14: "Tempus, Anyone?", by Leigh Raglan Section 10: Coming Attractions STAFF: ------ Jeffery D. Sykes, Editor-in-Chief Arthur E. LaMarche, Executive Coordinator of Reviews Nancy Jones, Executive Coordinator of Lois and Clark Section Editors: Joe Crowe Curtis Herink Ken McKee Shane Travis Steven Younis LEGAL DISCLAIMERS: ----------------- Superman and all related characters, locations, and events are copyright and trademark DC Comics. Use of the aforementioned is not intended to challenge said ownership. We strongly suggest that each reader look to the media sources mentioned within for further infor- mation. Opinions presented within this issue belong to the authors of the articles which contain them. They should in no way be construed as those of any other particular member of the editorial or contributing staff, unless otherwise indicated. This magazine should be distributed freely via e-mail. Should you desire to share this publication with other on-line services, please contact me at sykes@ms.uky.edu for permission. Feel free to advertise subscription information on other on-line services which have internet mail availability. THE KRYPTONIAN CYBERNET is available by e-mail -- to subscribe, send the commands subscribe kc
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field with your INTERNET e-mail address. The program ignores the subject line of the message. Back issues are available via ftp at oasis.novia.net. Archives are also reachable via the Kryptonian Cybernet Homepage: http://www.ms.uky.edu/~sykes/kc ________________________________________________________ SUPERSCRIPTS: Notes from the Editor ------------------------------------ Since this issue is looking to be pretty full, I'm going to keep my comments brief this month. First and foremost, I want to express my sorrow at the loss of perhaps the most popular Superman artist, Curt Swan. While I never had the opportunity to become a big fan of the man's work, what little I *did* see made it very easy to understand why so many saw his work as the definitive depiction of the Man of Steel. The simple fact that he drew the Man of Steel in five different decades (the fifties through the nineties) is a testament to his skill and popularity. He will certainly be missed. With the advent of the SUPERGIRL title close at hand (the first issue will almost certainly be out by the time this sees "print"), I wanted to raise two issues which relate to the new series. The first is that of drastic changes in existing characters. Peter David, in taking control of Supergirl, has announced that he will be making some major changes in the character to begin the series. While change, in and of itself, is not necessarily a bad thing, I'm not certain that I agree with Mr. David's reasoning for the change. According to quotes I've seen, Mr. David apparently felt this was the only way for him to get a handle on the character. I've seen similar comments from other creators as they took over a character that was new to them. Don't get me wrong, I will certainly be reading Mr. David's SUPERGIRL, and I fully expect it to be a fantastic book. I just don't understand the rationale behind the changes he has in store for Matrix. It seems to me that a good writer (and there's no doubt that Peter David is an excellent writer) should be able to write about a character as he or she already exists. If not, then maybe he or she shouldn't take on the character. Why should the writer be more important than the character? Before anyone rushes to compare this to the Byrne revamp of Superman, let me point out a major difference. Byrne was hired specifically to revamp the Man of Steel. To the best of my knowledge, the revamp of Supergirl was Mr. David's idea. Of course, if I am wrong about this, then I apologize for drawing an incorrect conclusion. (And if I am wrong, then I'll get on DC's case for changing a character which they had not bothered to try and explore.) The second issue is that I understand Gary Frank has a reputation for artwork that borders on cheesecake, or even exploitative. I've seen a few preview pages of the art, and they seem to be okay. Nonetheless, I hope that this title stays away from the stereotypical heroine. This industry desperately needs a top-selling heroine comic which doesn't pander to the consumers responsible for the popularity of bad-girl art and the balloon-chested, wasp-waisted Image-type heroines. I sincerely believe that only then will comic books have any chance of being respected outside the medium. Until next month, enjoy the new issue! Jeff Sykes Editor ________________________________________________________ NEWS AND NOTES: SUPERMANIMATION The USA Network has been showing THE SUPERMAN/BATMAN ADVENTURES for several weeks now. The program includes programming taken from several past DC animated series, including the ever-popular SUPER FRIENDS! These can be seen Monday through Friday at 7:00 AM Eastern. And I've also been told that SUPER FRIENDS has been airing on the Cartoon Network on Saturdays at 11:00 AM Central. DC MEETS MARVEL AGAIN? George Perez is writing a Superman/Silver Surfer meeting for DC and Marvel Comics, with art by Ron Lim and Terry Austin. In the special inter- company event, the Man of Steel and the Surfer will face off against the villainy of Mr. Mxyzptlk and the Impossible Man! Later this year, expect a second clash of the DC and Marvel universes! Rumored is an Access miniseries -- remember the interdimensional traveler created in DC VERSUS MARVEL? First up is a clash between Superman and Spider-Man villain Venom! And of course, the web-crawler couldn't be very far behind! (I've also heard rumor that this is an ongoing series, but we'll just have to wait until we get some more concrete facts!) The word is also out that we're going to be seeing some more from the Amalgam Universe in 1997! No word on a SUPER-SOLDIER follow-up, but I have heard that plans include a second SPIDER-BOY book, a Green Lantern/ Iron Man hybrid called -- naturally -- IRON LANTERN, and possibly a Karl Kesel-penned CHALLENGERS OF THE FANTASTIC! Again, this is still mostly in the rumor and speculation phase, but we'll let you know as soon as we hear more! MISCELLANEOUS COMIC NEWS I met Stuart Immonen a few weeks ago and was fortunate enough to see some of his artwork for THE FINAL NIGHT, the DC Universe crossover beginning in September (see our feature article for details). Supes fans take note that there's an extremely fascinating scene involving the Man of Steel and one of his most dangerous arch-enemies! It also appears that Superman comic completists will have an extra $2.95 to spend each month in 1997, as the Superman family of characters will not be featured in SHOWCASE '97. In fact, there probably is not going to be a SHOWCASE '97 at all! Later this year, look for a new take on the World's Finest as Superboy and Robin team-up in a Prestige Format miniseries! When the sun goes out in THE FINAL NIGHT, Superman will lose the source of his powers. After the crisis has passed, look for Superman to get some super-powered help while he waits for his powers to recharge. Suppose infant Kal-El's spaceship had landed in the Cold-War Soviet Union. That's the premise behind SUPERMAN: RED SON, an Elseworlds mini-series by Mark Millar and Dave Johnson, coming in 1997. And creators are already lining up for a shot at projects for Superman's 60th anniversary in 1998. For example, Mark Waid and Alex Ross, the creators behind the smash hit KINGDOM COME, are rumored to have already mentioned just such an interest! STEEL: THE MOTION PICTURE It's now confirmed! Press reports confirm that NBA star center and actor Shaquille O'Neal (BLUE CHIPS, KAZAAM!) has signed to star in a motion picture based on the DC Comics character Steel, to be written and directed by Kenneth Johnson. Johnson's directing credits include SHORT CIRCUIT 2 and the foreign feature THE INCREDIBLE HULK, which he also wrote and produced. Johnson has also written and directed a number of highly acclaimed television movies, including all six installments of the ALIEN NATION series of films and the blockbuster miniseries V. He was also the creator and producer of THE BIONIC WOMAN and THE INCREDIBLE HULK. Producers are Quincy Jones, David Salzman, and Joel Simon of QDE. Leonard Armato, Bruce Binkow, and O'Neal are executive producers. Production is scheduled to begin in August in Los Angeles. STEEL MORE ABOUT STEEL Christopher Priest (THE RAY, JUSTICE LEAGUE TASK FORCE) recently mentioned online that he'll be writing STEEL beginning with issue #34. This will begin a new direction for the character. The highlights: John Henry becomes known again as Dr. John Irons. He and Natasha move to Jersey City, where everyone speaks a different language and packs a gun. John also gets a new townhome, "chock full of high-tech goodies," and begins work as head of research for a major medical center. Steel will receive new streamlined armor, once again sporting the "S" on his chest. Priest goes on to say that the book will have an entirely new concept, as well. "X-Files-In-The-Hood wackiness ensues (the medical center is a creepy, five square-block maze of halls and catacombs, based on an actual place, the Jersey City medical Center). Example: the plot for #34: Steel has stopped a bad guy by ramming his hammer into the hood of a fleeing vehicle. He spends 22 pages trying to pull the hammer out." Phil Gosier and Rich Faber will continue providing art for the series. WIZARD FORETELLS THE FUTURE WIZARD magazine, in their fifth-anniversary issue, predicts that within the next five years, Superman will be launched into a new level of worldwide fame. Their reasons? ABC's LOIS AND CLARK is now a ratings winner, and WB's upcoming SUPERMAN animated series and tie-in toy line promise to be successful. The next Superman film should be out by 1999 or 2000, undoubtedly with incredible special effects and a massive box office take, and should open the door to a new movie franchise, much as Warner Brothers has done with the Batman series of films! ________________________________________________________ TOONING IN ---------- by Jeff Sykes (sykes@ms.uky.edu) A little more than 50 years ago, the animation world was set on its ear by the incredible work of the Fleischer studios in bringing to the screen the adventures of the wildly popular creation of Siegel and Shuster. The quality of animation in those episodes rival even the best work being produced today. In 1992, the style and feel of the original SUPERMAN cartoons was recaptured in Bruce Timm and Paul Dini's BATMAN: THE ANIMATED SERIES (B:TAS), the first of a new surge of animated superhero projects. And now the same creative forces strike again, this time returning not only to the style of the Fleischer cartoons, but the subject as well! The long-awaited animated series featuring the Man of Steel will finally debut this September on the WB Network! SUPERMAN will first air in a 90-minute prime-time special on Friday, September 6. Regular episodes begin in its normal timeslot the following morning: Saturday, September 7, at 10:00! SUPERMAN is produced by Paul Dini (who writes for both SUPERMAN and B:TAS) and Alan Burnett, and Bruce Timm (also of B:TAS) is an animator. In addition, the series will also feature all-star comic writers like Joe Lansdale and Evan Dorkin. Thirteen episodes are scheduled for the first season, and the entire series has been given a full order of 65 episodes. The 90-minute premiere will present the origin of the Man of Steel, but don't expect things to be exactly as they appear in the comics! Clark will be more of a hard-edged crime reporter, and his relationship with Lois will not be romantic, as it is on ABC's LOIS AND CLARK. Says Timm: "More like siblings who don't get along." Visually, the style of the show takes some of the same influences as B:TAS, primarily that of the original Fleischer cartoons. However, as Dini points out, "Unlike Gotham City, Metropolis is more optimistic and futuristic." Just as in B:TAS, viewers can expect the full array of supporting characters and a long list of regular and guest voices. Clark Kent/Superman is portrayed by Tim Daly (WINGS), Lois Lane is played by Dana Delaney (CHINA BEACH), and supporting characters include a young Jimmy Olsen, Perry White, Maggie Sawyer and the Metropolis Special Crimes Unit (SCU), Terrible Turpin, and Bibbo. Villains are led by Clancy Brown (EARTH 2) as Lex Luthor, Malcolm McDowell (STAR TREK: GENERATIONS) as Metallo, Jim Belushi (SATURDAY NIGHT LIVE) as the Parasite, Michael York (LOGAN'S RUN) as Kanto, Bud Cort (M*A*S*H) as the Toyman, and Gilbert Gottfried (PROBLEM CHILD) as Mr. Mxyzptlk! Also watch for Brainiac (who appears in the origin and has something to do with Krypton's destruction), Darkseid, and many others! Guest-stars will include Lobo (who has a two-parter in the first season), Supergirl, the New Gods, The Spectre, Wonder Woman, Aquaman, The Demon, and eventually Batman! A sneak preview of the show's artwork can now be seen online at the new WB animation home page: http://www.wbanimation.com Just as B:TAS before it, SUPERMAN will also spawn several forms of tie-in products. SUPERMAN ADVENTURES is the monthly comic companion to the series, and its debut issue is scheduled to appear on September 5, written by Paul Dini and illustrated by Rick Burchett and Terry Austin. Subsequent issues will be written by acclaimed UNDERSTANDING COMICS author Scott McCloud! See this month's COMING ATTRACTIONS for more information. Also in September, Kenner debuts a new line of action figures based on the animated series' characters, and SkyBox presents the SUPERMAN ACTION PACKS trading cards, including a full set of trading cards, pop-ups, puzzles, and even a piece of chewing gum! See this and last month's MERCHANDISE sections (or the KC Homepage) for more information on these products. ________________________________________________________ INTO THE DARKNESS ----------------- by Jeff Sykes (sykes@ms.uky.edu) September is always a time of new beginnings: the autumn season begin anew, kids everywhere head back to school, football season gets into full swing, the TV networks begin their new year of programming, and shopping malls everywhere start thinking about the Christmas rush! :) This September, DC makes its new beginning an ending. In this year's annual crossover event, Earth is faced with its final night. Imagine, if you will, a world without sunlight. Since the dawn of time, an unstoppable force has roamed the DC Universe, feeding off the stars themselves. Planets bursting with life drop dead in hours, gripped in relentless cold and growing darkness. Panic spreads as people lose all hope -- formerly sound-minded citizens are driven to riot, murder, recklessness, and suicide. Desperate unvoiced love is confessed, and torn lovers are reunited. Foes set aside their differences to await the end, as eternal night darkens the land. And Earth is next. >From the acclaimed creative team behind ADVENTURES OF SUPERMAN comes THE FINAL NIGHT, a four-issue weekly miniseries. Writer Karl Kesel, penciller Stuart Immonen, and inker Jose Marzan, Jr. join with colorist Patricia Mulvihill (WONDER WOMAN) to bring us what could be the end of the DC Universe as we know it! The story begins when an alien crash-lands in Metropolis, bringing warnings of the impending doom: an entity known as the sun-eater is fast approaching the solar system, an entity which feeds off of stars! And the story really begins when the combined heroes of the DC Universe utterly fail to stop the threat. During the month-long event, the Earth struggles to save a dying planet, and heroism is born in many different ways -- and from many unexpected sources, as heroes and villains alike rally to prevent the unstoppable. As the drama unfolds, the pivotal event of the tale takes place in a special one-shot, nestled between the third and fourth issue of THE FINAL NIGHT. Hal Jordan was once Green Lantern, one of the noblest and most respected of all heroes, but ultimate grief shattered his life and drove him to become the all-powerful Parallax. Now, in PARALLAX: EMERALD NIGHT, Hal Jordan faces his ultimate encounter with the Cyborg -- the villain from "Reign of the Supermen" who engineered the destruction of Coast City, which led to Jordan's downfall. And before everything is over, Parallax will play a major role in the Earth's current crisis. During each of the four weeks of THE FINAL NIGHT, several DC titles will spotlight the chaos spreading through the DC Universe and how the heroes deal with the hopeless population and worsening conditions. These issues are *not* required reading for understanding the events of THE FINAL NIGHT, but they focus on the effects of the disaster and the response of humanity in self-contained stories which enhance the main story in the miniseries. See the complete checklist of involved titles below. THE FINAL NIGHT is a weekly four-issue miniseries in the Miraweb format (the same as the weekly Superman books), edited by Dan Thorsland. Each issue has a US cover price of $1.95. Issue #1 arrives in comic book stores September 5. PARALLAX: EMERALD NIGHT is a 48-page one-shot, also in the Miraweb format, edited by Kevin Dooley. It arrives in comic book stores September 18 with a US cover price of $2.95. THE FINAL NIGHT CHECKLIST! -------------------------- September 5: Main story: THE FINAL NIGHT #1 Affected issues: Green Lantern #80 The Power of Shazam! #20 Sovereign Seven #16 Superman #117 September 11: Main story: THE FINAL NIGHT #2 Affected issues: Adventures of Superman #540 Batman #536 Green Arrow #114 Supergirl #3 September 18: Main story: THE FINAL NIGHT #2 Affected issues: Action Comics #727 Aquaman #26 Detective Comics #703 Superboy #33 Tie-In: PARALLAX: EMERALD NIGHT September 25: Affected issues: The Flash #119 Hitman #8 Legion of Super-Heroes #86 Robin #35 The Spectre #47 Superman: The Man of Steel #62 Takion #6 Conclusion!: THE FINAL NIGHT #4 ________________________________________________________ GOOD-BYE SUPERMAN -- A TRIBUTE TO CURT SWAN ------------------------------------------- SWAN'S GRACE Premier Superman artist Curt Swan, 1920-1996, is remembered Originally published in the June 26th, 1996, edition of FAT JACK'S comicScrypt; reprinted here with permission Copyright 1996 Brian Saner-Lamken; all rights reserved * * * * * Legendary Superman artist Curt Swan died in his sleep on June 12th at the age of seventy-six. Swan was a true Golden Ager, having worked professionally in the comics industry for over fifty years, but it was his later work - throughout the Silver Age and beyond - for which he was best known. He is perhaps more closely associated with Superman than anyone save the Man of Steel's own creators, Jerry Siegel and Joe Shuster, and generations of comic-book readers, this writer among them, grew up with Swan's vision of the character as their own. He was born in 1920 and raised in Minneapolis, MN, during the Depression. Swan served in the National Guard during World War II, and it was then that his illustrations first saw print, in the army paper STARS AND STRIPES. His artwork caught on, and he left his unit in Northern Ireland for a staff job with the paper in London, England, and later in Paris, France. After the war, the newlywed Swan and his wife moved to New York, where he often met with fellow ex-STRIPES staffers. One, France Herron, had returned to work for DC Comics, and recommended that Swan show his portfolio to some DC editors. That was 1945. DC was ten years old, Swan was twenty-five, and it was the beginning what would eventually become a beautiful friendship. Swan's first job for DC was an eight-page BOY COMMANDOS story assigned by editors Whitney Ellsworth and Mort Weisinger. "They gave me a few pages of Jack Kirby's to work from," Swan recalled to Jack C. Harris in a 1975 interview for DC's house fanzine of the time, THE AMAZING WORLD OF DC COMICS. "I did a very conscientious job, staying up practically night after night, doing this BOY COMMANDOS eight-pager. And I didn't omit any detail." The work paid off: Swan penciled BOY COMMANDOS, with Steve Brodie inking, for years to come, supplementing that series with a variety of work, including GANG BUSTERS, the Tommy Tomorrow feature in ACTION COMICS, and a then-new project from Weisinger's Superman stable called SUPERBOY. Five or six years into the game, however, Swan's frustration with demands from both writers and editors forced him to quit. "At home I was getting more and more tense, throwing things around the room - paper, my art supplies - because I was being asked to draw things I didn't think would work," the artist wrote in an essay for the 1987 anthology SUPERMAN AT FIFTY: THE PERSISTENCE OF A LEGEND. "I was working too hard, anyway. I would get these terrific migraine headaches where I would have to lie down on the bed, and heaven help anybody who dropped a pin. I figured my eyes were going. I got new eyeglasses, but it didn't seem to help. I decided I would have to give up the comic-book business and find something less strenuous." Leaving DC, Swan took a job with a small advertising studio. His income dropped considerably, though, and after a month he returned to his former employers. "They welcomed me with open arms," he wrote. "But soon I was lying in bed at home again with a splitting headache." Realizing that the migraines had vanished during his foray into advertising work, he made the connection: "It was not my eyes, after all. It was something about working for DC Comics." Upon further inspection, Swan pinpointed the problem as a conflict with Weisinger, and ultimately the two worked things out. "In time," Swan wrote, "we actually became quite close friends." Following Swan's work on a Superman 3D comic book in 1955, Weisinger sent Superman-related scripts Swan's way with increasing regularity. He got his feet wet with the spin-offs SUPERMAN'S PAL, JIMMY OLSEN and SUPERMAN'S GIRL FRIEND, LOIS LANE, and in 1961 began a regular diet of work on the flagship SUPERMAN title. He continued to draw frequently for Superboy's own series, as well as for the Boy of Steel's feature in ADVENTURE COMICS, and regularly penciled tales of the Legion of Super-Heroes, first in ACTION COMICS and then in ADVENTURE. For more than twenty years, he remained the primary Superman artist on both SUPERMAN and ACTION COMICS, and provided the style guide from which other Superman artists took their cue. Swan drew all manner of stories and all manner of people. Among the entries representing his work in THE GREATEST SUPERMAN STORIES EVER TOLD are the goofy "The Night of March 31st" from 1961 and the socially relevant "Must There Be a Superman?" from 1972, written by Otto Binder and Elliot S. Maggin, respectively. For some, Swan's name conjures up the heyday of Imaginary Stories, when his graceful figures were inked by George Klein and starred in such sagas as Jerry Siegel's original "Death of Superman" and Leo Dorfman's classic "The Amazing Story of Superman-Red and Superman-Blue" - both also reprinted in Greatest Superman. For others, Swan is the man who, a decade later, drew somewhat older, bolder versions of the Man of Steel and his supporting cast as inked by Murphy Anderson in Denny O'Neil's pivotal "Superman Breaks Loose" - first published not long before its inclusion in the sadly out-of-print SUPERMAN: FROM THE '30S TO THE '70S. In SUPERMAN AT FIFTY, Swan reminisced about some of his favorite aspects of the Superman mythos - Brainiac, the fifth-dimensional imp Mr. Mxyzptlk, the bottle city of Kandor - and his favorite stories as well. "I guess the story I'm proudest of," he wrote, "is the 1973 version I illustrated of 'The Origin of Superman' - showing the last days of Krypton, the baby Kal-El rocketing to Earth and being found in a cornfield by Jonathan and Martha Kent, then young Clark discovering his superpowers as a boy and going off to Metropolis to serve the world as Superman." Carmine Infantino, then DC's Publisher, laid out the story, which appeared in a special release titled THE AMAZING WORLD OF SUPERMAN. It was inked by Anderson - whose collaboration with Swan was so natural that the team was simply dubbed "Swanderson" - and dialogued by DC historian E. Nelson Bridwell. Swan was one of the few constants as Superman's world moved from the Weisinger era into that of Weisinger's successor, editor Julius Schwartz; all told, he spent over thirty years working on the characters in the Superman family. He finally entered semi-retirement in 1986, following a two-part story written by Alan Moore and inked by George Perez and Murphy Anderson that bid fond farewell to the Superman of old and paved the way for a new version to debut in the wake of DC's history-altering CRISIS ON INFINITE EARTHS. During the Man of Steel's fiftieth anniversary in 1988, however, Swan penciled the one-shot SUPERMAN: THE EARTH STEALERS - written and inked, respectively, by two new Superman chroniclers, John Byrne and Jerry Ordway. And he continued to work on a variety of Superman projects - even penciling a run on THE ADVENTURES OF SUPERBOY, based on the live-action television series - right up to his untimely passing. Swan's non-Superman credits ranged from DC's STAR-SPANGLED WAR STORIES - just the job for a former staffer of STARS AND STRIPES - to, more recently, issues of THE BATMAN CHRONICLES and even SWAMP THING. But he remains inextricably linked with the Big Red 'S'. He contributed to a storyline that ran through each of DC's four current Superman titles just last month, drawn by a variety of artists and written by longtime Swan fans Mark Waid and Tom Peyer. And his last piece of work was a drawing of Superman for a charity auction held at the Charlotte, NC, Heroes Con the weekend of June 15th, at which Swan was to have been a guest. He is survived by three children, who have requested that in lieu of flowers, donations in Swan's name be sent to the attention of Gary Hood at the International Museum of Cartoon Art, 200 Plaza Real, PO Box 1643, Boca Raton, FL 33429. Cards and letters may be sent to the Swan family in care of his daughter Cecilia Swan Swift at 573 Valley Rd., New Canaan, CT 06940. * * * * * Brian Saner-Lamken is the author of PRO-MOTION: HOW TODAY'S CREATORS BROKE INTO COMICS... AND THEIR ADVICE TO YOU!. ________________________________________________________ FAREWELL FROM THE FANS ---------------------- Because of the sheer volume of responses, many of the following farewell comments were edited for length. All letters submitted will be reprinted in their entirety on the Kryptonian Cybernet homepage. ****************************************************** I was saddened by the news of Curt Swan's death. I had personally met Mr. Swan twice, but I had been part of his world for years, reading the many books that he illustrated. His art is a permanent part of my life. God bless you, Curt. George Kozak (gsk5@cornell.edu) ****************************************************** It seems like that entire Golden Age and Silver Age generation of Superman creators is leaving us. In the past few years, we have lost Joe Shuster, Wayne Boring, Jack Kirby (who was briefly involved with Superman in the 70s), Jerry Siegel, and now Curt Swan. I was particularly saddened to hear about Swan, because I had met him several times. I worked at DC in the mid 70s, and Curt came into the offices from time to time. I'm sure he wouldn't remember that kid from the Production Department, but I certainly remember him, and his renderings of Superman have endured almost as long as Superman himself has. I had the opportunity to see a lot of Curt's original pencils. I lettered the pencilled pages, before the inker got to them. His pencils were clean and finished, unlike a lot of pencillers, who depended on their inkers to clean up everything. My favorite inker to work over Swan was Murphy Anderson. They were on a roll for a long while, until Anderson became involved in projects outside of the comics field. They still had occasional reunions. His work didn't really fit anymore, in the grim Image/X-Men era of comics. But he always looked good on Superman. For an entire generation of Superman fans, his Superman was *the* Superman! Bill Morse (BillMorse@aol.com) ****************************************************** I could always look at Swan's work and immediately know it was his. His art was simpler, perhaps not as flashy as today's artists, but always effective ... and his was the definitive Superman. Looking at some of the older comics I have with his work in it reminds me of a time when comics, for me at least, were more enjoyable, less "grim". He will be missed. Mike Santo (msanto@ix.netcom.com) ****************************************************** I was very saddened to hear about the recent passing of Curt Swan. When I think of Superman artists, I think primarily of Jerry Ordway (who along with John Byrne helped to "revamp" the Superman mythos) and Curt Swan. When I first started reading comic books, Superman was one of, if not the first that I read and with it was Mr. Swan's art. It was his unmistakable and distinct art that helped to shape the way Superman, Superboy, and the Legion of Super-Heroes looked to untold millions of readers and future artists of these characters for generations to come. We have lost a valuable asset to the comics industry and he will surely be missed. Harlan J. Bryan (hjbryan@mail.pittstate.edu) ****************************************************** In times like this I think of a line that I think H. P. Lovecraft wrote: That is not dead which may eternal lie, And in some strange eons, even death may die. Swan will be missed. He shaped a legend and, in so doing, he became legendary. Alan Fried (Fried-Alan@SC.EDU) ****************************************************** I'm stunned ... I grew up with Curt, and to me, there is no other rendition of Superman that stands in my mind ... When I think of Superman ... It was *Curt's* Superman .. His was the *definitive* Superman ... so expressive, so *real* ... I know there remain many great artists to continue the Legacy, but I still feel as though now, more than ever, Superman has truly passed on ... God Bless You for everything you've given, Curt ... Say "Hi" to George for us ........ DEX (wdima@ix.netcom.com) ****************************************************** I was shocked and saddened to hear the news posted on the rac.dc.universe newsgroup, especially so soon after losing Jerry Siegel. I grew up with Curt Swan's Superman and was an avid collector in the 70's. ... It was always a treat to find the Swan Superman in new or back issues. Swan's influence was pervasive and permanent - both on the comics industry and to readers like myself, for whom his work will always symbolize youthful idealism and hope. Sean Hogan (nhogan@cln.etc.bc.ca) ****************************************************** Forget Clark Kent: Curt Swan *was* Superman. He defined a consistent look when Superman was at his most diverse (Mort Weisinger sitcom, Dennis O'Neil dramatic, Cary Bates in action). He was a guardian and champion of what the Man of Steel is supposed to be like. He will be missed. John Saponaro (johns2@village.ios.com) ****************************************************** There's no way I can come close to providing an overview [or even a review] of Curt Swan's career, so I just wanted to pass on a few memories that came to mind the day I heard Curt Swan passed on: -- "I Flew With Superman" from SUPERMAN ANNUAL #9 [1983]. This story had no credits to it [as far as I can recall], but it involved Curt Swan meeting Superman. I guess that Curt Swan both pencilled and inked this, but what I remember most is the Superman's line: "My x-ray vision shows your heart is just fine, Curt" ... -- Finally, I don't remember which issue it was, but there was a Superman story shortly after the "Sand-Superman" storyline, in which Superman was pulled into the future along with George Washington, Abraham Lincoln, and George Custer. Everyone thought that Superman was about to die, but it turned out it was the Superman of an alternate dimension who died. The final lines of that story have a special resonance: "Somewhere, in some part of the universe, a Superman is gone. A hero, enshrined forever." Rest in Peace, Mr. Swan. We won't forget you. Jim Lesher (JLESHER@npr.org) ****************************************************** I am one of the many people who grew up devouring every Superman comic I could get my hands on in the late fifties and early sixties. I am also one of those whose favorite artist was Curt Swan. His Superman, indeed all his characters, just about leapt off the page they were so alive. To this day, when I read about Superman, it is the Curt Swan image that appears in my mind. Rest in peace, Mr. Swan. And thank you so much for the memories. Mike Dieckmann (orangemd@cdmnet.com) ****************************************************** Curt Swan's 1960s Superman was a solid upstanding citizen of another era, a time that seemed both magical and lost when I first read the Superman family titles ten years on, as a teenager. His Superman, while the essence of morality in the best possible sense, was also human, and had in his character along with his bravery, honor, and goodness, compassion, empathy, and a highly developed sense of humour. Swan's Superman set a fine example for society - while at the same time enjoying the company of those around him - Jimmy, Lois, Lana, Perry White - and enjoying himself as well. While the 70s brought a different concept of the character, Swan's artwork was just as brilliant; perhaps more so, as he rose to meet the challenges of the grittier stories. And yet, I'll miss his blue suited and red tied Clark Kent, his freckled faced Jimmy Olsen reaching for his signal watch, his chubby Professor Porter and portly Perry White, Lois and Lucy Lane in their set hairdos that never changed, the ringed globe on the roof of the Daily Planet, all the stories, melodramatic, gripping, silly that made those years. It's sad to know those times can never come back, that we'll never have stories like those again. It's hard for me to realize that the man whose work influenced so much of my interior world as both a teenager and an adult is gone. All I can say as a reader is that I will miss him greatly. Ivy Dennett-Thorpe (I.Dennett-Thorpe@uea.ac.uk) ****************************************************** Back in the summer of 1963, as an 11 year old I became an avid comic book collector and reader. Among the titles that I was drawn to were SUPERMAN, ACTION COMICS, and WORLD'S FINEST. In these comics, Curt Swan presented the "Superman family" in a very consistent and precise style. His art made a world in which a Superman and Supergirl from Krypton, existing in our world under secret identities, seem almost real. I'll put Curt up there with Jack Kirby in terms of the enjoyment he provided for many of my generation. Alan MacInnes (macinnes@world.std.com) ****************************************************** This has been a devastating Super year. First Siegel and now Curt. Curt Swan was a hard working, talented, yet down to earth guy. For 30 odd years he drew Superman. I remember the first Superman book that still stays in my mind was The Death of Superman (The original). Now that I think of it, it is "ironic" because Jerry wrote it and Curt drew it! Curt cranked out the pages. He was productive -- from the old school that said if you haven't got the "inspiration" today, just sit at the board and crank it out anyways. We have a job to do. Curt had a great sense of the character. I do not know if there was anyone this side of E. Nelson Bridwell who truly knew the character like he did. Yet, Curt said that he didn't want the legacy of being known only as "Superman's alter ego." He was an underrated talent whether teamed with George Klein, Murphy Anderson or his other assorted inkers over the years. In an industry of fan favorites and flashes in the dark, Curt Swan was consistent and consistently good. He was this fanboy's favorite, and he drew a hell of a Superman. In fact he drew *the* Superman. I know that they make a hell of a team in Heaven, Curt, Wayne, Jerry, Joe, and of course Mort. Heaven is far the richer and we the poorer. Curt I lift my mug and salute a fine gentleman. You are missed, remembered, and loved. Arik Meir (mahr@netvision.net.il) ****************************************************** I certainly do not qualify as an expert on Superman (my favorite character) nor Mr. Swan's work. However, I do qualify as one of the millions of fans that were treated to his unique artwork and the dedication he poured into each line. My early recollections of Superman are made of "the stuff" that came off his boards. For that, I thank him. May his memory be eternal. George W. Ioannidis (Vyzantio@aol.com) ****************************************************** Swan's Superman was powerful and congenial. A man who could halt an invading alien armada as well as help a club of full of Metropolis kids. I remember once reading THE EARTH-STEALERS and thinking "Man ... this art sure does look old fashioned to me now." Well, that's not quite correct. Rather, I should have realized that the art work looked like my childhood. My childhood has gone, naturally, but I still have memories. I still have the pages of ACTION COMICS with Superman, powerfully built, sporting a determined jaw or a broad smile. We'll miss you, Mr. Swan. Jason Deas (Buckaroo88@aol.com) ****************************************************** I just want to say good-bye to Curt from Mexico City in my own language, Spanish. "Gracias por los momentos de fantasi'a que con tus dibujos nos hiciste vivir de nin~os y au'n de adultos, te vamos a extran~ar ..." Jorge G. De Cossio (Jorge_Decossio-A12014@email.mot.com) ****************************************************** I always loved Curt Swan's work. He was the definitive Superman artist. I remember the sadness I felt in the last issue he drew before CRISIS, in which the Superman world as we knew it came to an end. I loved seeing his work not only in the Superman titles but also in LEGION OF SUPER-HEROES. And it was always a pleasant surprise to see his work after the John Byrne reincarnation. I even remember issues where he, himself, became a character in some of the stories (along with former editor Julius Schwartz). His passing is as important as the passing of both Shuster and Siegel. Krypto29@aol.com ****************************************************** Curt was an old friend whom I've never met. My first comic was drawn by Curt Swan and so were several hundred more. I hope that someday the last comic I read will have also been drawn by Curt Swan years previous. Curt has drawn more Superman books than anyone else. His contribution cannot be diminished. I respectfully thank Mr. Swan for years of entertainment he has brought me. Think of Curt Swan the next time you "Look, up in the sky..." and maybe you'll see him. Chad McCubbins (chadmcc@ix.netcom.com) ****************************************************** I am at a loss for words. As a Superman fan who started reading comics in 1959, I was always in awe of his work. His Lois Lane is outdone only by Schaffenberger, his Superman and Jimmy Olsen are without a doubt the best. The industry has truly lost a great man, and I am not ashamed to say I broke down in tears when I received Jeff's notice. Thanks Curt, for everything. Bill Crupe (wcrupe@tiber.nist.gov) ****************************************************** Thanks for letting me know the shocking news about Curt Swan, who passed away recently. I really liked his art in the Superman comics. In fact, I have some autographs from Mr. Swan as well as his Superman artwork sent to me long ago (in 1982 when I was in Calgary, Alberta, Canada). I feel really sad that Mr. Swan is no longer around to contribute his Superman artwork. I am also sending my heartfelt condolences to his daughter, wherever she is. Thanks again for letting me know about Mr. Swan. Don Stromberg (strom@torfree.net) ****************************************************** >From 20,000 miles away, his work has touched me. An icon in his genre, who will be sorely missed. Steve Kaplan (phoenix@infonet.co.za) ****************************************************** I was saddened to hear of Mr. Swan's passing. My earliest and fondest childhood memories are of a mom-and-pop grocery store near my Uncle's house in San Diego where I saw my first Superman comic book. It was drawn, I found out later, by Curt Swan. Most of my favorite Superman stories of the Silver Age were drawn by Curt Swan. For many of us Curt Swan defined the appearance of Superman in the Silver Age. The comics industry has suffered a great loss with his death. I hope Mr. Swan is fulfilling the scripture that promises, when we are absent from this body we are present with the Lord. Jimmy Stewart (jstewart@MAILBOX.ECON.AG.GOV) ________________________________________________________ AND WHO DISGUISED AS... -------------------------------------------- A Column of Opinion by J.D. Rummel (rummel@creighton.edu) "Swan Song" Have you ever played that game, you know, the one where someone asks: "where were you when you found out (famous name) died?" It is probably not going to be played using Curt Swan's name, his wasn't the caliber of fame that fits, but I will always be able to tell you where I was when I heard he had died. It was Sunday and I was at the Merchant Of Venus bookstore buying my comics. My friend Ron told me in casual passing, thinking that I had heard already. But I hadn't, and the words hit me square in the stomach, like a bully's punch. Ron had no details, and for several minutes I was literally in a daze. In the movies the screen would get wavy and I would flashback in detail, but actually the memories came back in pieces and it took awhile to assemble them. The first and only time I actually met Curt Swan was in 1987. It was at a Kansas City comic convention during an oppressively hot June or July. I saw him at a table, signing some work, selling some of his pages. Tan, with styled silver hair and gold chains on his neck, I was immediately struck by how much he looked like one of his own drawings. I approached the table and introduced myself. I thanked him, and explained to him that his work was very dear to me, that as I was growing up his art was the first I ever learned to recognize. Imagine. How many people know the first artist whose work they could appreciate and anticipate? Curt Swan was the one for me. I didn't know his name, comics didn't have credit panels then, but I came to know his angles, the lines of his work -- his style. What was it that drew me? Certainly the reality of his pictures, how he made the impossible seem almost neighborly. To me, Curt Swan's world was possible, like a walk out the front door. Comics, like any art form are purely a matter of taste. What determines why one artist's work is loved and another not? For instance, while I acknowledge his place of greatness in the Superman legend, I had little use for Wayne Boring's work. His barrel chested titan, strolling through the clouds with a kerchief for a cape was a cartoon. But Curt Swan's Superman -- you've heard me use this phrase before -- was a real guy. Curt Swan took the fantastic and put it there on the page rendering it with a reality usually reserved for mundane things. That day, as I told him this he thanked me. He may have thought I was just another idiot fanboy, but he was supremely gracious and gladly signed my copy of the "Kryptonite No More" issue of Superman. I still remember he had a beautiful drawing of Superman in the clouds with a dove. I should have bought it that day, but I passed. An idiot fanboy might not have, I think. Now, nine years later, I sit reading the chapter he wrote for SUPERMAN AT FIFTY: THE PERSISTENCE OF A LEGEND. Once more I am struck by the niceness. There is unpretentious prose in the slim memoir, it hardly scratches the surface of his contribution to an icon of pop culture. He treats his work as it must have seemed to his next door neighbors: Curt draws stories for a living. He reveals few secrets, he doesn't dish, preferring instead to give a very straightforward chronology of his life. Born at an unspecified date in most likely the twenties, Curt developed his skills in school and in the service, eventually working on comic books for around $18 a page. Outside of comic books, great moments happen without a narrator's caption informing us of their nature. It is not until years later that we see great moments for what they are. Swan's first Superman work came in 1955 on a 3-D comic. To read his account, he simply continued to work on Superman for thirty plus years -- no big deal. He doesn't seem to regard the feat as anything other than a well done job. From the extremely humble picture painted, I doubt he considered himself the definitive renderer of Superman's image. But he was. I can always picture dozens of Curt Swan Superman panels. Images of Superman flying, performing super feats. Swan, whether inked by Klein, Anderson, or his personal favorite, Al Williamson, was always for me a guarantee of even a lame story being rendered beautifully. One of the strongest images I retain is a black and white page I first saw in the sixties. That page highlighted the fact that Curt Swan's Superman had expressions. I remember that page of various faces; Superman surprised, pensive, whistling, laughing, suffering and winking. In his career, Curt Swan drew many characters besides Superman, the Legion of Super Heroes being notable and worth examination, but it was his work on Superman that assures his place in comic history. His contribution to the legend of Superman is staggering. There is no telling how many people grew up reading the stories he illustrated. How many lives does a man touch in thirty years of drawing the official adventures of the most famous character in the world? How can you possibly measure the impact of such work? In juxtaposition to this incredible audience, unlike many seminal artists he has no imitators that I am aware of, somehow remaining unique in a world where accomplishments such as his are rare. Perhaps because his style was so very subtle, lacking the noisy, swollen quality that is popular today. We have lost something rare. Obviously, I never knew the man well. I have only my impressions of his character and life, though even if I knew him well, that isn't important here. My words today are intended only to discuss his work, and the joy his illustrations brought me. To me, there is nothing like the sensation of sitting on a summer porch, or in a winter kitchen and losing the world for awhile in the words and pictures of a comic book. Curt Swan made some of the best pictures of Superman that have ever come down the road, filling the eyes of millions with images, creating tiny scenes that will entertain generations to come. Good bye Mr. Swan. I meant what I said that day in Kansas City. To me, and to many others you were the best. Thank you for so much joy and beauty. Away And Who Disguised As... is copyright 1996 By J.D. Rummel. Making of copies in any format is expressly forbidden without the written permission of the author. ________________________________________________________ RAVE REVUE ---------- A comicScrypt Q&A: Karl Kesel and Steve Mattsson talk about SUPERBOY AND THE RAVERS Originally published in the July 3rd, 1996, edition of FAT JACK'S comicScrypt; reprinted here with permission Copyright 1996 Brian Saner-Lamken; all rights reserved * * * * * In late July, one month before the debut of the newest incarnation of the Teen Titans, DC Comics is launching a monthly series in the offbeat tradition of such youthful superteams as the Titans and the Legion of Super-Heroes - SUPERBOY & THE RAVERS, co-written by Karl Kesel, departing scribe of Superboy's solo series, and Kesel's good buddy Steve Mattsson. Besides the Boy of Steel, the charter members of the Ravers include Sparx, a teenage girl with a literally electrifying personality, first seen in the ADVENTURES OF SUPERMAN Annual during the BLOODLINES crossover; Aura, described as "smart, stunningly beautiful, and the possessor of awesome magnetic powers" by Mattsson, who added "but all she wants to do is dance"; Half-Life, a boy who died in 1957 at the age of sixteen and joined the Ravers forty years later "in an effort to find the aliens that killed him and his family"; Kaliber, a "juvenile delinquent" from the otherdimensional world of Qward, where he was responsible for "random acts of kindness and senseless acts of beauty" and became, according to Mattsson, "fascinated by the heroic ideal"; and Hard-Luck Hero, who's "very good at finding things he didn't even know he was looking for" - such as a canine companion who'll be familiar to longtime DC readers. The following comicScrypt Q&A with Kesel and Mattsson was conducted a bit differently than most. Normally, Ye Editor will place a call to the interviewee; sometimes, there's time for a chat at a convention. This game of Twenty Questions, however, was conducted via the modern miracle of E-mail. A round of preliminary questions went out first to Mattsson, a longtime colorist whose work is currently on display in Marvel Comics' UNTOLD TALES OF SPIDER-MAN, and whose writing credits date back to a stint co-writing Marvel's NIGHT THRASHER with UTOS scribe Kurt Busiek. Mattsson then passed along the E-mailed questionnaire, with his responses, to Kesel, whose efforts on the Amalgam Comics one-shots SPIDER-BOY and X-PATROL (the latter co-written with wife Barbara Randall Kesel) brought him much industry acclaim. The whole shebang was then E-mailed *back* to comicScrypt headquarters, carefully considered, and subjected to cross-examination and follow-up questioning, which Mattsson and Kesel likewise obliged. The results are reproduced here for your edification and enjoyment, with comicScrypt's questions numbered and the interviewees' responses - mixed and matched in our E-mailed exchanges to the point that *they* don't even remember who said what - following in indented form. * * * * * 1. Tell me a bit about SUPERBOY AND THE RAVERS' genesis. How did the concept get worked out between the two of you, and what was it like pitching the series to DC? We started with a question: What could get a group of teen superheroes together on a regular basis that would be different? The intergalactic rave called the Event Horizon was our answer. We knew a place like that would be full of interesting characters and all we had to do was pick the ones whom we wanted to tell stories about. 2. Just who and what are the Ravers? From whence are the characters being drawn, and have we seen any of them before? Most of the core Ravers are brand-new characters, but they all have ties to the DC Universe; some of the ties will be obvious and other are more subtle. Besides Superboy, Sparx is the only regular we've seen before, and she plays a very important role in the series. After Superboy's woman troubles in the "Losin' It!" arc [recently concluded in DC's solo SUPERBOY series], Sparx acts as his girl friend - emphasis on "friend" - and he really needs one. 3. For the benefit of the unfortunately unhip in our audience: Exactly what is a rave? A rave is a "movable feast" - an underground party of fuzzy legality that moves from place to place to keep ahead of the authorities. The "authorities" in SUPERBOY & THE RAVERS are a group called InterCEPT - the Interdimensional Cooperative Enforcement Police Team. The special agents on this team were hand-picked from the police forces of their various dimensions to protect interdimensional borders and fight interdimensional crime. They are Captain Beta Tos of the Stellar Shield Watch; Jack Nebula, a Darkstar; Ephyra, of the Ultramarines; Shaar Q of the Chromium Fist Corps; and Nightshade [formerly a member of the Suicide Squad]. The dimension of origin for the Darkstar and Nightshade should be obvious, but I think the readers will have fun figuring out where the other members of InterCEPT come from. 4. How do Superboy and the other ravers get to the rave? They get a hand-stamp that can teleport them to the rave from any point in the Universe. There are a few rules about how and when the hand-stamps work that will take the ravers (and the readers) a while to figure out. 5. Is the rave merely intergalactic or cross-dimensional, too? The Event Horizon can travel pretty much anywhere except in time - the Anti-Matter Universe, Bgtzl, the Fifth Dimension, Land of the Nightshades, and Skartaris are all possible destinations. 6. Do the ravers have to show ID? Once they get the hand-stamp they are in - unless the host decides to take it back. 7. Who's the bouncer? The bouncer is a guy called the Bouncer, and he's more than qualified to keep a party full of superpowered teenagers under control. 8. While he has a considerable supporting cast in his own book, and in fact was recently paired up with Knockout in the "Losin' It" storyline, Superboy seems at heart more of a loner than a joiner - at least as far as superteams go. How much of a presence will the Ravers have in his personal life? Superboy will remain the independent type, but will have no problem going to a party, which is really all the Event Horizon is. [Although saying the Event Horizon is simply a "party" is like saying WWII was a "minor disagreement".] 9. Did RAVERS have anything to do with your decision to leave the solo SUPERBOY series, Karl? RAVERS had nothing to do with my leaving the main Superboy title. Tom [Grummett, series penciller] and I had simply told the stories we wanted to tell with the Kid - at least as a solo character. Believe me, after three years of solo-hero writing on SUPERBOY and ADVENTURES OF SUPERMAN, I was dying to work on a team book! 10. How did you and Steve hook up as writing partners? Steve helped me out in a pinch once before - SUPERBOY #6, I believe - and I was very happy with the results. Quite a few bits in that issue that most people assumed were my doing - like Krypto getting a "cape" - were actually Steve's! He's a guy with a ton of great ideas. 11. What sort of cross-continuity can readers expect between SUPERBOY and SUPERBOY AND THE RAVERS? Have you worked out any specific plans with new Superboy writer Ron Marz? Both books are handled by the same office, so there will be plenty of consistency in the way Superboy is portrayed and there will be some continuity, but the two books won't become a bi-weekly Superboy series. 12. Are you serving double duty as Karl Kesel, inker, and Steve Mattsson, colorist, or leaving those jobs to other folks? We'll be leaving those jobs to other folks. Only so many hours in the day, unfortunately. Paul Pelletier pencils and Dan Davis inks. Every page is a beauty to behold! 13. Last year's long-awaited crossover between Superboy and the Legion of Super-Heroes seemed to meet with considerable fan appreciation. Now that a group of the Legionnaires are going to be stuck in the 20th century, can we expect them to interact with the Ravers? I think that even somebody with sophisticated 30th-century tastes might find some diversion at the Event Horizon. 14. Is it possible that some Legionnaires might join up with the Ravers team, or vice-versa? That is a much more complicated question than it seems, and the problem is in the definition of the word "team". All you need is the hand-stamp to become a raver, but within the rave there are lots of cliques, or "teams". Aura belongs to a group called the Fashion Police as the series starts. There's a Khund clique called the Red Shift, a group of undead teenage ravers called the Corpse Corps, and many others. If the Legionnaires were to visit the rave, I'm sure that they would be seen as comprising their own unique clique. 15. There's a rumor - well, it's more than a rumor, because Steve played a guessing game in the Comics Forum on CompuServe a while ago and a few folks finally figured it out - that Rex the Wonder Dog is on the team. Has he been brought through time, or is this Rex's great-great-great-great-grandpuppy? SUPERBOY AND THE RAVERS will feature the original Rex the Wonder Dog. He's a regular in the book, but I don't know if I'd go so far as to classify him as a member of the "team". The answer to your question about Rex's longevity is located in the Rex cannon, *all* of which is still in continuity but will *not* be referred to in [RAVERS]. 16. Chuck Dixon mentioned years ago that a Superboy/Robin pairing was a definite possibility - he called it WORLD'S FINEST: THE NEXT GENERATION. Are we any closer to seeing that? Yep. First issue's plotted, Tom Grummett's drawn about half of it, and Chuck and I (Karl) are starting to script it. Second issue to follow shortly. Probably on sale sometime in late summer, early fall. Or not. 17. Might the Ravers meet the new Teen Titans? Will Superboy be crossing paths with Impulse anytime soon? How about that new Wonder Girl? Captain Marvel Jr.? Bucky Barnes? It is the goal of the mysterious host of [the Event Horizon] - and the writers of this series - to get every young hero in the DCU to make an appearance at the party. How close he - and we - get to succeeding is anybody's guess at this point. And Bucky Barnes would be a problem, but not for the reason you might think! 18. Is this "mysterious host" anyone we've seen before? Is he/she/it just being kept mysterious for now, or are we looking at a SECRET SIX/CHARLIE'S ANGELS thing? The host of the Event Horizon is a new character called Kindred Marx. He is probably the most powerful teleporter in the DCU. If we're using '70s TV analogies, he's "mysterious" in a Mr. Roarke of FANTASY ISLAND kinda way rather than a Charlie of CHARLIE'S ANGELS kinda way. 19. If Baby Plas from THE PLASTIC MAN COMEDY/ADVENTURES SHOW aged in real time, he'd be about Superboy's age. Is there any chance of them meeting up? Actually, Superboy *is* Baby Plas! [Note: This is, as near as can be determined, simply a joking response to a joking question. Thus far, however, nobody has actually conducted the one test that would lay this matter to rest - namely, tugging on Superboy's forelock to see if it is indeed capable of stretching farther than the mozzarella on a freshly baked Pizza Hut personal pan pizza.] 20. Whatever happened to Penny and Hoola-Hoola, anyway? Godzooky ate them. * * * * * Karl Kesel's current projects include DC's ADVENTURES OF SUPERMAN and Marvel's revitalized DAREDEVIL, both of which he writes monthly. Both he and Steve Mattsson have some "secret projects" on the burner, which may or may not include contributions to a possible second wave of Amalgam offerings. Stay tuned. SUPERBOY AND THE RAVERS is scheduled to arrive in comic stores July 24. * * * * * Brian Saner-Lamken is the author of PRO-MOTION: HOW TODAY'S CREATORS BROKE INTO COMICS... AND THEIR ADVICE TO YOU!, available at finer comics shops nationwide or directly from the publisher for only $14.95 plus $3.00 shipping with a check to Boardwalk Press, PO Box 362, Wynnewood, PA 19096. Mention THE KRYPTONIAN CYBERNET and shipping is free! All checks must be in US funds drawn on US banks. * * * * * This article originally appeared in the July 3rd, 1996 edition of comicScrypt, the weekly newsletter of Fat Jack's Comicrypt, a four-store chain of comics shops in and around Philadelphia, PA. If you'd like *your* local retailer to distribute a ginchy newsletter like comicScrypt absolutely free with your stack of comics every week, E-mail the editor at blamken@aol.com with your store's name and address; include yours as well, and you'll get a free sample copy as thanks. Subscriptions are available as well! ________________________________________________________ THE METROPOLIS LIBRARY -------------------------------- by Isaiah J. Campbell First of all, I would like to apologize for there not being a Metropolis Library in the last issue. Things came up and I was not able to do turn in anything for that issue. Also, I must apologize for this article. Some complications arose which did not allow me to review the book that I wished to review. What am I going to do instead? Ah, read on. Before getting into my article, let me say that Curt Swan has always been one of my favorite artists of all time. I am sorry that he has left this earth, but he has left us a legacy in his comics. If there is ever a biography of Curt Swan, believe me, it will be reviewed here. On to my article. I have been given the pleasure of getting to read many good Superman novels, some of which I will review someday. There have been, however, some books that I simply cannot review, either because they have smaller essays instead of one giant plot-line; because I feel that I would be tarred and feathered for my opinion, or for some other reason. It is my pleasure, therefore, to give you these books, and brief summaries, so that you can read them and review them for yourself. Here they are: SUPERMAN AT 50 publisher unknown This is a book of essays about Superman, written for his fiftieth birthday. They are all very well written. (No, "Man of Steel, Woman of Kleenex" is not in it!) Many are quite informative (such as the article about Superman physics -- very informative). I would suggest this book to you if you don't mind reading opinionated articles. (Such as this one you are reading right now :) THE AMAZING WORLD OF SUPERMAN, METROPOLIS EDITION National Periodical Publications, Inc. 1973 This is not a book, but it isn't a comic and it isn't a graphic novel, so it falls under my column. It has many articles, not only about Superman Comics, but also about making a comic book; about Metropolis, Illinois; and about the Broadway show "It's a Bird...It's a Plane...It's Superman!" If you are a Superman history buff, or if you are interested in Superman Trivia, then you should get this ... magazine. THE DEATH AND LIFE OF SUPERMAN by Roger Stern New York; Bantam Books, c1993 I have decided to not review this novel because the events are out of date. It is a good re-telling of the story, and if you aren't quite sure about what happened with it all, you should read it. If enough people write me asking me to review it, I will. All of the LOIS AND CLARK novels except for #1 M.J. Friedman New York: Harper Paperbacks Simply put, this is not a series of reviews to review a series of novels. I will review #1 (hopefully next issue), but I will not review any others. Therefore, you might want to read the rest, (hey, I don't even care if you read #1 before I do, just don't write a review and send it in before I do, OK? Thanks) SUPERMAN, THE MAN OF STEEL (Which Way Book #1) Andrew Helfer Illustrated by Jose Delbo An Archway Paperback published by POCKET BOOKS, a division of Simon & Schuster Inc. 1983 I have never known how to review a "Choose Your Own Adventure Book." But the illustrations are great and the story is really good. If you don't mind this type of book, I would suggest you read it. You might be able to find these books at a bookstore that deals in old books, or you might be able to find some of them in a library. If all else fails, try rummage sales. And if that fails, just fly over to the Metropolis Library, open 24 hours a day, 7 days a week. Next time, (hopefully) the first of the LOIS AND CLARK novels. ________________________________________________________ Just the FAQs More Details about Frequently-Asked Questions about the Man of Steel by David T. Chappell After a two-month hiatus, this column is returning to cover more topics about the Last Son of Krypton. This month's question covers a subject relevant to some of my own career interests. While a student at Stanford University, I did research in both human and robotic aspects of Mars exploration. However, this subject is not only of personal interest but of issue in Superman's recent trip to the Red Planet. Rather than confining the subject to Mars, I have broadened the question to ask, "Can Superman Breathe in Space?" Introduction The story of Superman has been connected with outer space since nearly its conception. It was from space that Superman came -- the doomed planet Krypton -- and a rocket ship transported the young babe across vast distances to Earth. More than just Kal-El's origin is linked to space, however. Superman's trips to outer space and his good deeds on other planets have given him an interstellar reputation as one of the galaxy's greatest heroes. While some fans (and even writers) treat Superman's trips through space as nothing special, one should consider how amazing it is for a man to survive in a complete vacuum with no oxygen. This article does not tackle the question of why Superman does not freeze, and despite modern folklore, exposed human bodies do not explode in space. Nonetheless, I shall explain how Superman breathes in this extreme environment. The Good Old Days In comics stories printed before the 1986 Crisis on Infinite Earths, Superman could survive in space without difficulty. A nice breath of air before leaving Earth's atmosphere was sufficient to last for an indeterminate amount of time. Superman could speed off to other planets at a moment's notice, and long trips through space never bothered him. Moreover, he had another special talent that materialized in space. When traveling with others, Superman could use super-ventriloquism to communicate. Regardless of the lack of any intervening medium to transmit the sound, Kal-El and his super-powered cousin Kara Zor-El could speak to each other with their wondrous super-ventriloquism. Early New Adventures in Space When Superman was revamped by John Byrne on the character's fiftieth anniversary, his powers were redefined and reduced. Kryptonians could no longer survive without air indefinitely but needed regular breaths of oxygen. In the new Superman's first post-Crisis adventure into outer space, as retroactively recounted in ACTION COMICS ANNUAL #7 (1995), he learned that a deep breath can last for some time in space, but Clark also pushed himself to his limits and nearly suffocated. It was also in that story that he first used a breathing mask and a small oxygen tank to extend the length of time he could remain out of an oxygen-rich environment. Superman's most epic adventure in space was his 1989 self-imposed exile from Earth. Before departing, the Man of Steel asked Professor Hamilton to give him a tank of air so he could survive. As the trip extended, Superman's oxygen tank ran out, but he encountered several oxygenated environments on spaceships and even the monstrous Warworld. Though Superman survived the trip, oxygen deprivation did drive him unconscious at one point in his adventures. Since then, Superman has taken several other trips into space. Some have been aided by other heroes or powerful beings who can alleviate the need for air or instantly transport Superman across space. Other trips, such as his jaunt to Argo City in the 1995 SUPERMAN VS. ALIENS mini-series, have been within a spaceship with life support. Another notable trip into space in comics dated early 1994 occurred when Superman's powers were beginning to increase. For then-unknown reasons, Superman's body was temporarily processing energy at an accelerated rate, and he was able to survive in outer space with practically no need to respire at all. A Super-Biology Lesson Two valuable texts provide details on Superman's breathing requirements: Roger Stern's SUPERMAN: THE MAN OF STEEL SOURCEBOOK and John Byrne's unpublished "Superman -- The 'New' History -- A Guide." Superman's body processes air at 100% efficiency, and he can survive on a single deep breath of air for an hour. His metabolism thus puts Earth's moon in easy reach since super-speed can put Superman there within just a few minutes. Other planets, however, are out of normal reach. To solve the problem, Byrne suggests, "Just as a diver can take a single deep breath of nearly-pure oxygen and go without refilling his lungs for six to eight minutes, so Superman could essay a trip to Mars or Venus under similar conditions." Longer trips to deep space require further preparations, as demonstrated in the aforementioned stories. Superman on Mars As of this writing, the Man of Tomorrow's most recent visit to outer space was on his trip to Mars within SUPERMAN #112 (Jun 96). Despite the previously mentioned need for special precautions for such a long trip, Superman clearly just directly takes off for space in that story; however, one could presume that he made a detour to breathe pure oxygen before taking leave of Earth's atmosphere. According to inside information, Jurgens simply forgot Superman's breathing limitations. To Jurgens' credit, however, he did correctly acknowledge that Mars has "just enough atmosphere for sound." This atmosphere provides more than just a medium for sound: it also provides enough oxygen for Superman to breathe. The amount of oxygen in the Martian atmosphere is nearly insignificant in comparison to our terrestrial environment. On Earth, oxygen makes up 21.0% of the atmosphere; out of a total of 1013 mbar pressure, that yields a partial pressure of 212.7 mbar. In contrast, oxygen makes up only 0.15% of the Martian atmosphere; out of a total of 6.1 mbar pressure, oxygen thus has a partial pressure of just 0.0092 mbar. Hence, Mars has only a tiny fraction as much oxygen as Earth, and it takes about 23,250 times as much volume of Martian air to provide as much oxygen as on Earth. However, if one presumes that Superman's lungs could inhale enough volume to equal the same pressure on either planet, then only the percent composition matters. Therefore, Superman could use his super-lungs to get a big lung-full of Martian air on each breath, and he would only need 140 breaths on Mars to equal one on Earth. If we assume that he can survive with one breath an hour on Earth, then Kal-El would have to breathe only about once every 25 seconds on Mars. Conclusion Superman's occasional excursions into outer space are part of the legend that makes him Earth's greatest hero. Since he came from the stars, it seems only appropriate that he not be confined to a single planet. Although he usually needs to make special preparations to breathe in space, Kal-El's past experiences have taught him his limits. Older fans may prefer the pre-Crisis incarnation of Superman who could survive without breathing, but this modern limitation is part of the emphasis of the man over the super. While Superman's main interest in space is saving humans and aliens, some of his fans have time to learn more about the universe around us. Readers interested in learning more about space exploration and Mars can visit WWW sites such as these: The Planetary Society -- http://planetary.org/tps/ Center for Mars Exploration -- http://cmex-www.arc.nasa.gov/Mars Global Surveyor Project -- http://mgs-www.jpl.nasa.gov/ SIMM Mars Information Pages -- http://www.duke.edu/~dtc/mars/filelist.html ________________________________________________________ SUPERMAN - THE SERIAL --------------------- by Steven Younis (younis@ipacific.net.au) In the beginning... Hi there! This is my first ever column in any type of magazine or publication, so please be patient with me as I find my feet! :) As the title of this column says, I'll be stepping back in time to the beginning of Superman. No, not in the comics, not in books, not on television, but on the Big Screen! To be exact, I'll be reviewing the 15 chapters of SUPERMAN - THE SERIAL. And then (if Jeff and the rest of the KC team allow it) I'll also review the 15 chapters of SUPERMAN VS THE ATOM MAN. But I'm getting way ahead of myself! SUPERMAN - THE SERIAL is the first ever appearance of The Man of Steel to the movie-going audience. As we all know, Superman's first comic appearance was in 1938, and most of us are aware of the TV series starring George Reeves starting in 1951. But what many aren't aware of is that there was a Cinema Serial in 1948, and that before George Reeves there was Kirk Alyn. Before I go on further about the content of THE SERIAL videos, let me tell how I came across this gem. My wife and I went along to a Collectors Fair at Parramatta Town Hall (I live in Australia BTW), besides the usual comics and collector card stalls, my wife found one stall where these ladies were selling all types of videos. Actually I couldn't tell you what other videos they had, as my whole attention was centered on the two Superman collections on their table. Two double video sets: SUPERMAN - THE SERIAL and SUPERMAN VS THE ATOM MAN at $24.95 each. In a flash, out came the cash! :) I'm sorry but at this point in time, I don't know who or what released these videos or where (if at all) you can buy them from. But in the coming months I'll attend the next Collector's Fair and ask the people I bought them from for more information. I promise to pass on the details, as soon as I know more. The covers on volumes 1 & 2 of THE SERIAL are identical except for the volume number on the spine. The front cover has an artist's color rendition of Kirk Alyn as Superman with small drawings of Superman in different situations surrounding the main picture. Also prominent is a drawing of this story's villain(ess), The Spider-Lady. The familiar 3D Superman title tops the cover, and a black & white photo of actual footage from chapter 11 is shown in the bottom left-hand corner of the cover. Here's what's written on the Front cover in very small print: Based on the SUPERMAN adventure feature appearing in SUPERMAN and ACTION COMICS magazines, in daily and Sunday newspapers coast-to-coast, and in the SUPERMAN radio program broadcast over the Mutual Network. Kirk Alyn, Noel Neill, Tommy Bond and Carol Forman. Adaptation by George H. Plymton and Joseph F. Poland. Screenplay by Arthur Noel, Lewis Clay and Royal Cole. Directed by Spencer Bennet and Thomas Carr. Produced by Sam Katzman. A COLUMBIA SERIAL The back cover has a photo of The Spider-Lady against the backdrop of a spider web. Here's the information printed on the back: Superman: The Serial First-ever live-action version of the comic book legend stars Kirk Alyn as the Man of Steel, using his muscular might to foil the machinations of the malevolent Spider Lady. Noel Neill appears as Lois Lane [a role she also played in the later TV series]: with Carol Forman, Tommy Bond. 15 episodes: 248 min. Chapter Titles: 1. Superman Comes to Earth 2. Depths of the Earth 3. The Reducer Ray 4. Man of Steel 5. A Job for Superman 6. Superman in Danger 7. Into the Electric Furnace 8. Superman to the Rescue 9. Irresistible Force 10. Between Two Fires 11. Superman's Dilemma 12. Blast in the Depths 13. Hurled to Destruction 14. Superman at Bay 15. The Payoff The opening credit when playing the video lists the cast members as follows: Superman/Clark Kent - Kirk Alyn Lois Lane - Noel Neill Jimmy Olsen - Tommy Bond Spider Lady - Carol Forman Driller - George Meeker Anton - Jack Ingram Perry White - Pierre Watkin Brock - Terry Frost Conrad - Charles King Hackett - Charles Quigley Graham - Herbert Rawlinson Leeds - Forrest Taylor Morgan - Stephen Carr ??? - Rusty Wescoate (The character name is cut off by the bottom of the screen, but I think the actor's name is correct) >From all appearances, these chapters were shown in weekly installments in cinemas, because at the conclusion of every chapter we're left with a cliff-hanger of an ending and the sound of the narrator's voice saying to make sure we "catch the next exciting chapter of Superman at this cinema next week!" Whether or not these were shown before a feature film or on their own I don't know (maybe one of you KC subscribers knows more about this. If so, please pass on the info). I won't go into any details on SUPERMAN VS THE ATOM MAN until I finish reviewing THE SERIAL collection. (Actually, at the time I write this, I *can't* rather than *won't* go into details on the ATOM MAN videos as I haven't watched any of this collection yet!) :) Okay, here we go! After the Title, music and credits (which by the way only shows up at the beginning of each cassette), we're shown the chapter title in 3D lettering: Chapter 1 - "Superman Comes to Earth" The scene is outer space, (all the special effects in this series are done using animation). The narrator introduces us to the planet Krypton, a blue planet, circled by 12 moons. Footage of Krypton's surface (no longer animation) shows us jagged rocks and rough terrain. But on a flat plateau (animation again) stands Krypton's giant capital city (no name given). This city is populated by a race of Supermen and Superwomen. Jor-El, one of Krypton's leading scientists believes Krypton is being drawn towards its sun and one day will explode into millions of tiny fragments. We see Jor-El in his laboratory. He's wearing a weird outfit, a cape (like a magicians) is draped over his shoulders, his pants and shirt look like silk or satin. Jor-El (we are told) is building a trial space craft. If his model is successful, he plans to build a mammoth fleet for all Kryptonians to escape the pending doom and find safety on Earth, "a planet similar in atmosphere to Krypton". Jor-El's request to meet with Krypton's Council members (7 in total) is accepted. They are to discuss the quakes and volcanoes that have been occurring (and are still occurring) all over Krypton. Ro-Zan, head of the Council, introduces Jor-El to the rest and motions for Jor-El to talk. Jor-El speaks (for the first time with quite an English accent too) telling the Council his theories on the doom Krypton faces and that they should plan to evacuate Krypton as soon as possible in the space crafts he has designed. This moves most of the Council to anger. They mock and ridicule Jor-El, even going so far as to ask if maybe his mind isn't wandering. Jor-El pleads with them one last time, before they take a vote (very democratic) and unanimously decide to disregard Jor-El's theories and stay on Krypton. Jor-El dejectedly leaves the meeting room to the sounds of their laughter and returns to his laboratory. Soon after, Lara (his wife) enters holding their infant child (Kal-El) wrapped in blankets. A major quake shakes the building, and we're told that Jor-El realizes Krypton's last moments have come. Jor-El places the baby into the model rocket (which looks like every other rocket in movies made in the 1950s) as a large volcano erupts outside. Making last minute adjustments, Jor-El closes the hatch and presses a button on the rocket. With sparks and plenty of smoke, the rocket scoots up the ramp it rests on and flies out the open window. Jor-El and Lara hold each other as Krypton is shaken apart. From a view-point in outer space, we see the (animated) rocket ship shoot out of Krypton's orbit seconds before the planet explodes into a puff of smoke. *phew!* On Earth, a car (classic late 1940s model, no roof) chugs along a country road. Traveling in the car is a middle-aged couple, who stop the car when they hear a strange noise. As they watch, a rocket ship falls out of the sky, sliding to a halt behind some large rocks. The woman says, "Eben! It landed behind that rock!" (We all know that this is Mr. and Mrs. Kent, but here (and even in the 1950s TV series) Mr. Kent's name is Eben rather than Jonathan. In this series we never find out Mrs. Kent's first name.) The couple investigate and Mr. Kent opens the hatch of the smoldering rocket and "rescues" a bundle from inside. Mrs. Kent exclaims, "It's a baby! And alive! How can that be?" Just then the rocket explodes. Mr. Kent wonders at the blanket the baby is wrapped in, how it's made out of some odd material, "fire proof". They wonder where the baby came from, and decide that people would think them crazy if they said it fell out of the sky. So they keep the whole thing a secret, take the baby home, naming him "Clark". The narrator tells us that Clark grew rapidly, and that the Kents knew soon enough that he was different. How? Well when we next see Clark, he's around 6 years old and pulling a loaded wagon all by himself! Then at age 10 (or there abouts) we see Mrs. Kent point Clark towards a haystack. Using his X-Ray vision and Super-sensitive hearing, Clark burrows into the hay and comes out seconds later holding his mother's watch. (What her watch was doing in the middle of a hay stack I don't know :) Now in the Kent's living room, Clark looks about 16. Mrs. Kent answers a telephone call from someone in the town, telling her a tornado is heading their way! She hangs up and tells Clark to run out to the far field and fetch his father. Meanwhile, Mr. Kent (I can't bring myself to call him "Eben"), who's working on some machine, feels the wind pick up, looks around, and sees the twister (again an animated effect). Running, he gets into his car (this time it's one with a roof) and drives off. But the wind and dust obscure his sight and force the car off the road and into a tree! A falling power line lands on the car, electrocuting the exterior. Clark comes running, sees the power lines and tells his dad not to touch any metal. He grabs the live wires and throws them clear of the car. Driving home in the car together, Mr. Kent tells Clark that was the most amazing thing he has ever done! Clark looks at his dad and smiles, saying they better get home to "Ma" as she's probably worried. Back in the Kents' living room, the years have passed and Clark has reached manhood. The Kents reveal to Clark the story of how they found him. Mr. Kent tells him that because of his great abilities, how he's almost a superman, he has a large responsibility. Admirably, Clark agrees with his father and announces that he plans to go to the city, where there is need for somebody like him, and that he'll get a job that will keep him close to world events. Mrs. Kent brings forth a parcel which she hands over to Clark, telling him it's a costume she's made for him out of the "strange cloth" he was wrapped in when they found him. She says it resists both fire & acid, and hopes it will protect him always. Now just let me cut in here for a second. I realize compared to today's story-lines that these plots have quite a few holes in them, but what I'd like to know is how Mrs. Kent knew the cloth was resistant to acid? And if Clark was such a super man, why did she hope that the "strange cloth" would protect him always? He's super without the suit! Anyway... Clark says he'll only wear the costume when he's "Superman", because he thinks it's best if people don't know that Superman and Clark Kent are one and the same. Shortly after this event, we're told that both Mr. and Mrs. Kent "passed away". Clark leaves Smallville (actually we're never told the name of his home town, I'm just presuming) and heads for the local train station. The scene changes and we're aboard a train. Here we first meet Lois Lane and Jimmy Olsen. Jimmy knocks on the door of Lois' compartment and with some whimsical comments she lets him in. Lois is typing away on her typewriter, and as he fiddles with his camera, Jimmy comments that the train is really traveling fast. Now at the station, Clark arrives just in time to see the station master run by in a panic. Using his telescopic vision, Clark spots a broken section of the railway. Two men stand next to the broken piece wondering what can be done about it. Clark and the station master (now with a flag in hand) run up along side the two men and also examine the broken rail. Meanwhile, the train speeds ever closer! The station master runs up ahead and waves his flag wildly trying to signal the train driver to stop! One man races off to call an ambulance just in case, while the other, realizing the driver isn't going to spot the station master in time to stop, runs for cover. Clark (looking very intense) thinks to himself: "This looks like a job for - SUPERMAN!" and races off behind a gathering of trees. Two seconds later, from behind those same trees emerges Superman! The train speeds past the station master, horn blaring and brakes screeching as Superman prances (I'm sorry but he prances) across the tracks, bends over the broken section of the rail and ... "Can even Superman save this train from destruction? What will happen to Clark Kent when he arrives in Metropolis? Don't miss 'Depths of the Earth', the second exciting chapter of Superman at this theater next week!" or should that be in this e-zine next month! A great cliff-hanger! Sorry if I sound a bit sarcastic at times, I really did enjoyed this collection, I sat enraptured as I watched. But by today's standards and after growing up watching Christopher Reeve as Superman (God bless him), it's hard to warm to Kirk Alyn's performance. Don't get me wrong, he does a great job, but his running style and the way he jumps out from behind the trees holding his arms out from his side and swiveling side-to-side as he takes in the whole situation is a bit theatrical and over-dramatic. He just doesn't seem tough or masculine enough IMHO. But without a doubt this is definitely a must for any Superman fan's collection, I wouldn't trade it for anything! That's it for this month, I hope you enjoyed it. Please don't hesitate to e-mail me at any time with your thoughts and reactions to my column. BTW, I've put the SUPERMAN - THE SERIAL Theme Music (recorded off the video) and other Superman related sounds for you to download (in .au format) in the BITS & PIECES section of my Web of Wonders homepage at: http://www.ipacific.net.au/~younis/web_of_wonders.html I'll catch up with you again in next month's issue of KC! Later! Steven Younis younis@ipacific.net.au **** You can also read a comprehensive history and production details regarding the Superman Serial at HTTP://www.skypoint.com/members/joycek19/setchell.htm thanks to Rick Setchell (rsetchel@monarch.papillion.ne.us) The Superman - The Serial Review column is copyright (c) 1996, Steven Younis. All rights reserved. ________________________________________________________ REVIEWS ------- Ratings Panelists: AW: Anatole Wilson KM: Ken McKee SF: Shane Furlong DS: Dick Sidbury MC: Matt Combes VV: Vic Vitek JS: Jeff Sykes RG: Rene' Gobeyn WN: William J Nixon As always, the first rating given after the average is that of the reviewer. The average rating given for each book may correspond to a larger sample of ratings than what is printed following the average. THE "TRIANGLE" TITLES: --------------------- Uniform Credits: Colorist: Glenn Whitmore Separator: Digital Chameleon Associate Editor: Mike McAvennie Editor: KC Carlson 29. SUPERMAN #114, "Identity Crisis IV: Worldwide Web" Writers: Tom Peyer and Mark Waid Pencils: Chris Renaud, Steven Butler, Curt Swan, and Chris Marrinan Inks: Dick Giordano and Pam Eklund Letterer: John Costanza Cover: Kieron Dwyer and Patrick Martin August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 3.7/5.0 Shields KM: 4.0 Shields MC: 4.0 Shields - It's really sad, knowing that this issue contains the last Curt Swan Superman art ever. Seems all the greats are dying these days. Great issue. SF: 3.0 Shields - Nice story, but changing pencillers and the stock cover detracts from the rating. DS: 3.5 Shields - The trouble with Brainiac stories is the conclusions are usually pretty weak. The solution was much too pat for me, especially coming from Waid and Peyer. I'll give the issue an honorary 5.1 as Curt Swan's last work, however. VV: 4.0 Shields - Put in a slightly different ending, without the easy answers to Chas' problem, and I'd rate it higher. Then again, it was a kind of silver age ending, so I'm not too disappointed. A good conclusion to a good read, proving you don't need a fight an issue to have a great story. Our story opens with Superman (Brainiac) saving a bikini babe from an apparent drowning at the local beach. Mentally he is recording the events as he sees them unfold. A bizarre opening to a very confusing and convoluted story, he appears to be conducting some sort of experiment to see how humans will react. Cut to downtown Metropolis where Chas (Superman) is trying to figure out how to break into Lexcorp, the secret headquarters of Brainiac. All around him the good citizens of Metropolis are walking around like mindless robots spouting binary numbers. Brainiac has overloaded their brains with megabytes of information to the point where they have lost all individual identity. Chas (Superman) is determined to stop Brainiac at all costs and recover his body. Despite a minor setback by some flying killer robots, Chas (Superman) makes it to the top floor where he finds Milton Fine strapped to a gurney. Meanwhile, in another part of the building, Brainiac (in Superman's body) is planning to download information into the minds of everyone on the planet with the aid of a worldwide television signal (sort of like what Bob Dole and Bill Clinton plan to do this summer for the upcoming election). Chas (Superman) is suddenly interrupted by Superman (Brainiac), who plans to kill him on worldwide television. Superman (Brainiac) picks up Chas (Superman) and hurls him through the glass dome to the street below. Just when it seems to be over for Chas (Superman), Superman (Brainiac) swoops down and catches him. Now Superman (who *was* Brainiac) is back to being Superman!? [Chas, in his delusion of being Superman, has wrested control from Brainiac -- both of their minds are housed in Superman's body! --Jeff] As Chas (Superman) tries to explain what happened, Brainiac regains control of Superman's body. He flies Chas (Superman) back to their previous location and attaches a set of cables to their heads. Activating the equipment, Brainiac expels Chas' mind back into the boy's body, so that Brainiac's mind is alone in Superman's body, and Chas' and Superman's minds both share Chas' body! Enter the dream sequence. Superman (the *real* Superman) and Chas are having a discussion, and Superman is telling Chas that he must fight. Superman manages to see Chas' memories and finally realizes why Chas wants to be Superman so badly. Living with a battering mother all but kills him as a child, and his only escape is to slip into his imaginary world as the Man of Steel. Back to reality. Chas/Superman has a momentary reprieve from Brainiac's mind control and flips a switch on a control panel. The electrical current surging through the cables throws Brainiac back into the body of Fine and Superman's mind back into its rightful owner. But it ain't over yet, dear readers. Brainiac now uses his knowledge of Superman's physiology and discharges a destructive ray from his mind towards Superman. Superman pleads with Chas to do something before it is too late. There is only one thing he can do. He leaps from the balcony, grabs some cables, and manages to short out the deadly mental transmission between Brainiac and Superman. Superman is released from Brainiac's power and quickly soars to Chas' rescue; they both escape in the aftermath of a tremendous explosion. Of course Superman had to drag along Brainiac. It wouldn't be fair to just let him die. I wonder what Luthor will think of the destruction of his corporate office? Chas tells Superman that he reversed the flow of the knowledge that Brainiac put in the brains of his victims. They are all back to normal (do they remember what happened?) and Brainiac is needing a new hard drive to hold all his newly acquired mental energy. The ending is a good one for Chas. He is having an operation which will cure him of his seizures. This is another rendition of the Joker's attempt to take over the world in the movie "Batman Forever." I had to go back and read it several times to figure out the ending because it was so confusing. I don't know what the opening beach scene had to do with the rest of the story and where did Chas get the cables he was holding when he leaped from the balcony? Maybe they were the ones that Brainiac had attached to his head, but they weren't there when he jumped. I like Brainiac much better than Luthor. I think he is a much more formidable adversary for Superman, and he definitely has more class than Luthor. The cover was sensational, as was the rest of the artwork. The entire story was interesting and intriguing, but the thing I liked best about it was that it was short. It didn't drag on for three months like so many stories do. As a final note, I am deeply saddened by the death of Curt Swan. I remember his rendition of Superman as a kid. To me, Swan's Superman truly was the Man of Steel. Good-bye Curt. We'll miss you. Ken McKee (stdkrm01@shsu.edu) ================================================= 30. ADVENTURES OF SUPERMAN #537, "Creatures on the Loose!" Writer: Karl Kesel Penciller: Stuart Immonen Inker: Jose Marzan, Jr. Letterer: Albert De Guzman Cover: Stuart Immonen, Jose Marzan, Jr., and Patrick Martin August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 2.6/5.0 Shields AW: 1.0 Shield - Buy it for the artwork, not the uninspired set of ill-conceived subplots. MC: 3.3 Shields - Jimmy's becoming a jerk and Lori's under my suspicion for those "errands" she was running, but this was a pretty nice issue. I'm adapting little by little to Immonen's artwork, and Kesel pulls off the plot quite nicely. SF: 2.0 Shields - Indifferent story with poor art. Many pages have no backgrounds at all. WN: 3.5 Shields - Monster fun and art, I loved Jimmy getting his comeuppance from Lucy, but what's with Thompson's outfit? VV: 2.5 Shields - Sigh. Back to "monster of the week". On the other hand, I like the way the Ron Troupe/Lucy Lane relationship is being handled. I wonder if Jimmy has been taking RELATIONSHIPS 101 from Clark, recently. And what is Lori Lemaris going to do with all the money she earns from sunken treasures? I might as well just come out and say it -- "Creatures on the Loose" was a big disappointment. In a comic about a flying man from another planet, it can be hard to say what strains "credibility" in a story. I don't have any such problem with this one: from Superman's previous lack of concern about the life forms being imprisoned in S.T.A.R. labs to Jimmy's callous pursuit of a story, to Burton Thompson's ridiculous costume in the very last panel, this issue carries on several implausible plot lines that just left me scratching my head. The issue starts out with the Doc Freeman/Rudy Parasite causing a power outage at S.T.A.R. labs for a purpose to be revealed later. The power blackout frees all the creatures Thompson has been keeping in S.T.A.R.'s underground lab, and they proceed to run amok throughout Metropolis. Clark and Lois are in the newsroom and argue over who should get this story. A preoccupied Perry White (who apparently has just learned he has cancer, I've heard) picks Clark to handle the story. Kent, as Superman, goes to handle the crisis. He saves a group of men from a wolf-like creature, only to learn that Lucy Lane has been captured by King Kong, Jr. Kesel adds a little spin by having the giant gorilla-like creature shoot stone spikes and substitutes floating creatures who have acid instead of blood for the traditional biplanes. Oh -- and we see Jimmy's new professional callousness as he and Ron Troupe finagle their way to the top of the LexCorp building; Ron is concerned about Lucy, Jimmy is only concerned about getting good pictures. After Lucy is saved (c'mon, you knew she would be), she decks Jimmy for trying to interview her. I'm not sure if we're supposed to laugh or just be stupefied by Jimmy's behavior. There's nothing particularly exciting about the battle (Superman grabs a box and stuffs all the acid blobs into it), except for the breathtaking sequence on page 20 where I was actually convinced the ape creature was going to fall to its death before Superman could save it. The victory of Superman's save is short-lived, however, because the creature is suddenly "shattered" by a death ray. The death ray comes from a techno-spear wielded by Burton Thompson, S.T.A.R. Director and apparent Tarzan/B'wana Beast wannabe. Or is his costume from Brother Voodoo's old collection? Either way, it's an incredibly silly costume that I can't imagine any self-respecting scientist would wear, especially if he wanted to keep his job. Doesn't S.T.A.R. have any kind of managerial oversight? So what we have is a series of subplot insertions that I just don't buy, and one of the most ridiculous new characters -- Burton Thompson -- that we've seen in a long time. And once again the issue ends with Superman caught unawares as the foe he's captured is killed before his eyes. I think this is happening now about twice a month. How many more times must we be subjected to this brutal cliche? The only redeeming qualities of this issue were the appearance by the Parasite (though I thought his killing of two security guards counts as gratuitous violence), and the previously mentioned art, which reached its pinnacle on page 20. Anatole Wilson (awilson@vnet.ibm.com) ================================================= 31. ACTION COMICS #724, "Losing Brawl!" Writer: David Michelinie Guest Penciller: Tom Morgan Inker: Denis Rodier Letterer: Bill Oakley Cover: Tom Grummett, Denis Rodier, and Patrick Martin August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 2.8/5.0 Shields WN: 3.5 Shields - Brawl is a victim and Lex is chilling in a solid action installment. MC: 1.5 Shields - Well my theory has been proven. Looking at the crap I see on the cover, I was right when I said that Rodier was at fault for all the similarity in the (crappy) art in ACTION. I surely hope they rid themselves of him soon. I'm not sure I could stand Tom Grummett's pencils with his inks. As for the story, one word: boring. SF: 3.0 Shields - Brawl with a personality!? Nice story, and guest penciller Tom Morgan does a good job especially drawing Lois. JS: 2.7 Shields - Adequate fill-in art by Tom Morgan, but Michelinie fell back into his "stupid readers" mode -- telling us what we're already seeing in the art. VV: 3.5 Shields - Okay more brawling (no pun intended). However at least there was good movement in two subplots (STAR monsters and Clark/Lois), and a hint of movement in a forgotten one - the Parasite. But I wonder what happened to Burton Thompson. He was about to be arrested in three panels on the first page, never to be seen again... On the cover a tense Superman stands over a fallen Brawl as Lois holds him back. ACTION continues the escaped monsters storyline with the focus on Brawl (last seen in MOS #53). It deftly weaves Lois and Clark's relationship, Lex, Brawl's history, the Parasite, and a good old fashioned slugfest all seamlessly together. I enjoyed it. Great Grummett/Rodier Superman on the cover. Burton Thompson, he-man figure, has recaptured most of the escaped monsters, but a number, including Brawl, are still on the loose. Superman follows him to the suburbs and they face each other in a storm drain. Brawl throws Superman over and carries on towards his destination. Above him a small Lexcorp (?) camera whirrs away, relaying footage to Lex. In the Pacific, Lex is chided by his new bride to leave his work alone and join her in the pool (she is wearing a minimalist swimsuit). He is intent on Brawl's progress against Superman. Lois makes her way into S.T.A.R. Labs and discovers that files relating to Torval Freeman (AKA Doc Parasite) have been erased. As Superman and Brawl fight, the latter begins to remember shards of his former life and hesitates long enough for Superman to pin him down. Clark takes the opportunity to check the city. The SCU are holding their own, but Lois is in danger. He flies off to protect her but finds himself debating about the rights and wrongs of what he is doing. He doesn't want her to come to harm but at the same time wants to respect her independence. Before he arrives Lois 'extinguishes' the monster. The pride etched in both of their faces was a joy to behold. Meanwhile, Brawl has escaped and is lurching towards his final destination. He remembers the name Rosebud. As he approaches a suburban home, a woman comes to the door and hears him cry 'Rosebud'. Bill, as Brawl refers to himself, begins to say that he knows who did this but mysteriously dies. In a chilling panel, Luthor can be seen pressing the key which executed Brawl with a casual sigh. As S.T.A.R. Labs arrive to take Brawl's body, Rosebud tells Superman about her life with Bill. He had developed a brain tumor and didn't survive experimental surgery. Superman checks Brawl's body and sees that the brain tumor has disappeared. He vows that justice will be served. Lex joins the Contessa in the pool -- his 'investment' hasn't paid off, but he jokes that there is still time to make a killing. There was a lot going on in this issue, and a lot of threads to follow through. It was a solid, satisfying read. Thompson seems a most curious character with an interesting fashion sense for a director of S.T.A.R. Labs (I mean this is the same Burton Thompson Supes met back in SUPERMAN #113, there seen in a double-breasted suit and new in town). Brawl looked like a prototype of a Doomsday-like creature and Luthor is still about, still pulling the strings. The monstrosity of the way these guys have taken it upon themselves to remodel a normal man into a killing machine was brought home with the introduction of Rosebud. Brawl was a guy who needed surgery, who had a life, a wife, and a penchant for Orson Welles. A guy whose widow wept and "buried him" in a closed casket. In the hands of Thompson/Luthor he became a deindividuated, mutant tool for furthering their own designs. The extent of their collaboration remains to be seen, but it seems like a reasonable assumption. Lex didn't seem to have any control over Brawl this time, presumably as a result of the unforeseen breakout caused by the Parasite. And it was Lex who was responsible for the latest incarnation of that purple behemoth. His fingerprints and presence are still everywhere. As deadly and worthy a nemesis as he has always been. I was glad to see that Clark pulled back from checking in on Lois after she saved herself and realized that perhaps he had gotten too hung-up in old habits. He was proud of her and his love shone through. Tom Morgan as guest penciller did a good job and I liked his renderings of Lois. Looks like we will see more of him next month. Her realization that the Parasite was involved was a picture. Good job all around. William J Nixon (W.J.Nixon@lib.gla.ac.uk) ================================================= 32. SUPERMAN: THE MAN OF STEEL #59, "Prey" Story: Louise Simonson Penciller: Jon Bogdanove Inker: Dennis Janke Letterer: Ken Lopez Cover: Jon Bogdanove, Dennis Janke, and Patrick Martin August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 3.0/5.0 Shields AL: 2.5 Shields MC: 2.5 Shields - I cannot stand this cartoonish artwork in my Superman comic book. If Bog were a young artist trying to get into the biz today, he would be criticized so much for his misproportions and skewered perspective; he just scrawls these people on the paper. Louise Simonson is the only savior for this title. I just loved Clark's remark to Lois on page 19 -- after all, not only is it true, but she deserves a retort like that after the way she's been acting. SF: 3.0 Shields - Nice Lois-centered story, but the Bogdanove art really takes away. This book continues to be the weak link in the Superman group. DS: 3.75 Shields - Good Lois and Superman interaction. A believable conflict between the two of them. JS: 3.5 Shields - Janke's inks are still too heavy, but the art was more tolerable this issue -- though why is Bog's Parasite so much more muscular than Immonen's? It's good to see Lois back in crack reporter mode, but methinks she overreacted a bit at the end. When I was reading this week's MAN OF STEEL, I had to flip back to the splash page to see if there were credits to Phil Foglio or Tom Clancy. The Artwork was very cartoonish, and reminded me of Foglio's work (page 7 or 20 -- it could just have easily been Dixie instead of Lois). In addition, it was obvious that all the characters were eventually going to come together at the climax of the story as they would in a Clancy novel. The Story opens with Superman and the SCU collecting one of the last escaped monsters on the water front, while Dr. Thompson, Dr. Faulkner, and Lois are having some problems with some of the recaptured monsters back at STAR Labs. Eventually things are back under control. Back at the Planet, Clark and Lois run into each other and their relationship declines as they discuss how she recently extinguished a threat at STAR Labs. Superman was prepared to help, but held back when he saw she had things under control. But while they discuss the situation, she feels that he treated her as a parent would a child. The scene concludes with each thinking that maybe they can not even be friends. The main plot of the book is advanced as Thompson, Lois, and Superman all begin to unravel clues about the Parasite. Lois gathers the SCU and Professor Hamilton (YEA! -- I like this guy I want to see more of Hamilton -- "DR. Art") and they set a trap for the Parasite. They capture the Parasite in a pair of stasis beams, but one of the beams malfunctions and the Parasite escapes. Lois distracts the monster and leads it away from Hamilton. Superman arrives and just when it appears that the Parasite will suck Lois' life force, Hamilton gets the contraption back on line and contains the Parasite, and Superman swoops in and lifts her to safety. Which upsets Lois even more than their earlier conversation. But, wait! In comes Dr. Thompson to add to the confusion. Eventually everything ends, and we are left with Superman and Lois at her apartment. She tells him that she can not count on him rescuing her. She says this causes her to lose her edge. Turning her back on Kal-El to hide her tears, she tells him she is leaving Metropolis to become one of the Planet's foreign correspondents. Ugh, The Relationship has gone from bad too worse. The deterioration has been realistic. I know very few couples that have broken up and then remain friends. But there are always a few lucky souls who get back together after some rough times. We can only hope... Arthur LaMarche (DrArt95@aol.com) ________________________________________________________ OTHER SUPER-TITLES: ------------------ SUPERBOY #30, "Lost & Found" (Losin' It: Part 6 of 6) Story: Karl Kesel Pencils: Tom Grummett Inks: Doug Hazlewood Colors: Tom McCraw Lettering: Richard Starkings and Comicraft Associate Editor: Chris Duffy Editor: Frank Pittarese Cover: Tom Grummett, Karl Kesel, and Patrick Martin August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 3.3/5.0 Shields AL: 2.5 Shields DS: 3.0 Shields - Well it's about time he figured it out. A very disappointing way to end Kesel's run. JS: 3.7 Shields - Great having Grummett back on the interior once more, and Kesel does a pretty good job of wrapping up (though I don't think Volcanum's really dead) the story. The point? I think that Roxy put it best: "Don't go all grim an' gritty on me, S.B. -- it just ain't you!" Let's hope Marz remembers that... VV: 4.0 Shields - Okay, who *didn't* think that Superboy would come to his senses? And the ending wasn't telegraphed (well, maybe we knew that Superboy would eventually fight and defeat Knockout, but the solution was *extremely* well hidden in a previous issue). The fight scenes were pretty good -- only one question: why didn't Superboy stop Knockout from killing Victor? Then again, we did not see the body at the end, and the lava was his life blood, and lava was pouring in from all over the place... Well, just like the old saying, "The sixth time's the charm." The kid finally gets a clue. OK, so maybe the third time should have been the charm, and maybe the kid was a little slower on the uptake then any of us would have been, but hey, he is only about three years old now. Superboy bursts in on Victor Volcanum and Knockout. But he is unable to kill Victor when Knockout asks him to do so. But before Superboy can react, Knockout kills Victor Volcanum herself! Superboy is shocked and, for the first time, directly confronts her with the death of the police officer in SB 25, and this time he figures out the truth. But more trouble is brewing. With the death of their leader, the robots begin a self-destruct sequence. Superboy is able to rescue the scientists that were being held captive and finds that Tana Moon is also there. He brings them to a boat that contains the SCU. While there, Roxy gives him back his "S" shields. With the normals rescued, Superboy rushes back to the island, and his final confrontation with Knockout begins. A well choreographed and beautifully drawn fight crescendos through several pages. It ends with Superboy determined to sacrifice his own life to prevent Knockout from escaping. He pins her to the island by use of his telekinetic power and the weight of the island to augment his strength. Realizing she is trapped and unable to fight back, Knockout suffers a psychological breakdown. She simply shuts down. Superboy lifts her unconscious body and brings her into custody. As the story ends, Superboy is feeling down. Roxy gives him a pep talk, telling him that he has to learn from his mistakes -- and that someday the big "S" will retire, and Superboy will become Superman! Arthur LaMarche (DrArt95@aol.com) ================================================= STEEL #29, "The Price" Writer: Louise Simonson Penciller: Phil Gosier Inker: Rich Faber Color Artist: Stu Chaifetz Letterer: Pat Brosseau Assoc. Editor: Chris Duffy Editor: Frank Pittarese Cover: Phil Gosier and Rich Faber Special Thanks to Eric Fox August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 3.8/5.0 Shields DS: 3.75 Shields - Most of this for the glorious artwork and the rest for one of my favorite villains, the Parasite. JS: 3.8 Shields - Best (and saddest) story in this book in months; Steel's life has certainly become more difficult. And the return of Gosier and Faber brings us a fantastic looking book -- their art really captures Steel's turmoil and the imposing figures of Polaris and the Parasite. A Death in the Family! Story: In this episode the Annihilator continues to haunt Steel. Two new villains have heard of his new plasma weapon and try to take it from him. In detail... A near riot is taking place at the Irons' house. Officer Shauna Beryl takes the police call and proceeds to the scene. Unfortunately, the Parasite, one of my favorite villains (I wonder what would happen if he fought Doomsday?), intercepts her and drains most of her life force, resulting in her squad car careening into the crowd. Fortunately, Steel is back in the 'hood and stops the car from killing a dozen or so protesters. Steel takes Shauna away to the hospital and leaves her in the care of Dr. Quick, who promises to take good care of her and also offers Steel (to whom she seems to have a romantic attraction) the use of her condo as a hide-away from the press. The Parasite, who needs constant energy to survive, wants the Annihilator, Steel's ultimate weapon, so that he can use it as a constant source of energy. The Parasite lays in wait for Steel to return. Bess and Butter, Steel's grandparents, discuss the situation. Butter believes that John had no choice but to reveal his identity, but Bess is not so sure. Meanwhile, Jane Wallace, intrepid TV reporter, who has been following Steel around, breaks the news of the attack on Shauna and wonders aloud if Steel's presence is a detriment to the community. This is playing on TVs in the background as John Henry tries unsuccessfully to find an apartment to rent. She catches up to him just as another villain, Dr. Polaris shows up to try and take the Annihilator, which has already been destroyed, away from Steel. Dr. Polaris, who can control magnetic fields, and Steel duke it out for a few pages until Steel teleports away into Dr. Quick's apartment. John dozes off on the couch and has another nightmare which is interrupted by the appearance of Dr. Polaris. The TV news thoughtfully reported that Steel left the hospital with Dr. Quick, so Polaris deduced that John Henry would be at her apartment and bashes through the skylight in search of Steel. Meanwhile, the Parasite is smashing the Irons' house and John Henry breaks away from Polaris when he sees a report of this on TV. Polaris follows, but Steel traps him in the magnetic fields of the power lines. Steel rushes home and attacks the Parasite to hold him off long enough for the Irons family to escape. Unfortunately, Bess, John Henry's grandmother, misunderstands the situation and doesn't realize that John Henry is marking time until his family escapes. She believes that he has lost the power to teleport and rushes out to help him. Polaris also shows up and enters the fight with Steel, the Parasite, and Bess. Bess is hit with a magnetic charge which incapacitates her, and her dying words to her only remaining grandson are: "Now ... All you can do.. is save the others. Trust you ... to save ... 'em ... to be their SUPERMAN..." The two villains leave -- Dr. Polaris for Keystone City and Parasite to go in hiding and build his own Annihilator. The cops, TV crews, and neighbors come up to Steel. The cop wants to know why he isn't chasing the villains. As he cradles his dead grandmother he says: "Give me one reason that I should even care!" Artwork: The first team is back, and it shows. The artwork follows the usual style: oblique overlaying panels of various designs, black gutters, white gutters, no gutters. It is sharp and crisp with a lot of empty space around some of the panels. Splash pages with vibrant colors and palette schemes for different areas of the story continue the tradition. I'm not much of a judge on artwork and to me, it usually takes a distant second place to the storyline, but Steel is the exception for me. I like its artwork as well as any of the super titles. Conclusions: This issue examined the personal reaction among John Henry's family to the aftermath of the revelation of his secret identity. There were some supporters and some detractors. There was also a large part of the issue tied together with various slugfests. Usually this doesn't work for me, but it seemed to be effective in this issue. TV news was portrayed in a very negative manner here, but the portrayal was subtle. The artwork was very satisfactory. Dick Sidbury (sidbury@cs.uofs.edu) ================================================= SHOWCASE '96 #7, "Playing With Fire" Featuring Gangbuster and Captain (Mary) Marvel Writer: Jerry Ordway Penciller: John Statema Inker: Mike DeCarlo Colorist: Dave Grafe Letterer: Ken Bruzenak Assoc. Editor: Chris Duffy Editor: Frank Pittarese Cover: William Rosado and Klaus Janson August 1996 $2.95 US/$4.25 CAN RATINGS: Average: 3.6/5.0 Shields RG: Story: 3.5 Shields - Tight, consistent, and complete. Art: 3.0 Shield - Well detailed figures, needed backgrounds. JS: 4.0 Shields - Best lead story since SHOWCASE joined the Superman family. Wonderful storytelling and dialogue by Ordway, and gorgeous art by Statema and DeCarlo. Now if we can just get a Captain (Mary) Marvel meeting with Supergirl! This ones a keeper. It has most everything I like to see in a story: a tight plot, consistent use of the chosen characters, and it's complete in one issue. I had to take a little off my rating for the almost gratuitous use of angst as a plot device, but it was understandable in context. The action sequences were very well done, and everyone stayed in character. The art was some of the best I've seen in SHOWCASE in months. I thought the panel layouts and detailing on the people were excellent. The use of the sketchy backgrounds hurt the rating a bit, and some of the perspectives were off. Mary Bromfield (Captain Marvel) has won second place in a state-wide essay contest. She and the first place winner are to get their awards from Cat Grant. Gangbuster is watching from the audience when The Arson Fiend shows up. It turns out that his nephew has a crush on Mary and wants her to notice him. He has set it up with his uncle so that he can be the hero of the day when he gets everybody out of the theater after the fire starts. "Chasing the Clouds Away" (Part 2 of 2) Starring Firestorm Writer: Robert L. Washington III Artist: Randy DuBurke Letterer: Gaspar Editor: Ruben Diaz No "Super" content - not rated Firestorm comes to grips with his drinking problem and makes his real first steps in getting past his problems. "Snow Crash" Starring Fire (JLA) and Cruiser (Sovereign Seven) Writer: Chris Claremont Pencils: Rick Leonardi Inker: Hanibal Rodriguez Letterer: Chris Eliopoulos Colors: Tom McCraw Editor: Alisande Morales No "Super" content - not rated A strong story of two good, but under-used characters. One of the finest short stories I've read in ages. I suspect that the use of Cruiser could have been gratuitous, but it (he) really worked. A nice sense of closure for Fire that was missed in the JLA titles. Rene' Gobeyn (gobeyn@kodak.com) ================================================= ANNUALS, MINISERIES, AND GUEST APPEARANCES ------------------------------------------ SUPERMAN ANNUAL #8, "The League of Supermen" Writer: David Michelinie Pencillers: Kevin J. West and Tom Grindberg Inkers: Barb Kaalberg, John Lowe, and Bill Anderson Letters: Phil Feliz and Albert DeGuzman Colors: Dave Grafe Separators: Digital Chameleon Assoc. Editor: Mike McAvennie Editor: KC Carlson Cover: Jerry Ordway 1996 $2.95 US/$4.25 CAN RATINGS: Average: 2.8/5.0 Shields AL: 2.5 Shields MC: 3.0 Shields - Although still a disappointment, this annual was much better than some of the other "Dead Earth" annuals I've read so far. SF: 2.5 Shields - Best of the lot so far on these annuals but I hate these themes and that takes away from the rating. JS: 3.0 Shields - Again we have an average annual. Kevin West's art wasn't bad, but I didn't care for Grindberg's. The concept here was okay, but as with most team books, one issue isn't enough to establish the characters very well. As a result, it was difficult to care about what happened. VV: 3.0 Shields - Nice ending. Good, logical limitations to powers (with great power come great drawbacks?). Of course, this annual does seem to imply that (a) at least part of the Fortress is salvaged at some point in the future (where do the drones come from?); and (b) maybe the disaster occurring in FLASH happens after all . I have never been a big fan of the out of continuity annuals. It was the first of this year's annuals that I have read. I have purchased them all, but I have not taken the time to read them. Although I was not looking forward to reading it, it did provide enough twists to keep it interesting. The premise of the story is that the body of Superman is no more, but his spirit lives on inside of a Super-computer (sorry, couldn't resist). To replace Superman, a Super League has been created. People join the league and are genetically enhanced to emulate just one of Superman's powers. But the augmentation does not come without drawbacks. For example, the individual with the Super strength can not touch anything because his most gentle touch would crush just about anything. The individual with Superman's invulnerability can not feel anything -- from a gentle breeze to a bomb's explosion. Through these sacrifices, a League of Supermen is created to defend the adopted Earth. The two newest members of the League are cybernetically enhanced. In this way, they are able to take their powers off. Their sacrifices will not be as great as earlier members. As the story heats up, it becomes apparent that the Super computer is behaving strangely. It has, apparently, jeopardized the lives of people in order to create a protective shield around the planet. But the situation worsens when we learn that the weapons on the satellites point towards the planet -- not into space. The team decides that the League must destroy the computer to save the planet. By combining their talents, the Super League is able to overcome the adversities that the Super Computer puts in their way. Through great personal sacrifice, the League shows us that it is worthy of the S-shield and they overcome the computer by removing its power source -- Kryptonite. As the Super Computer's "life" fades, it thanks the League for killing him. It seems that years of isolation without the sensation of touch has slowly eroded away his sanity. He knew he was going insane and staged events in which it appeared that it was threatening people. But it was all a ruse to provoke the desired response before he really lost his sanity and did something terrible. The book closes with the League announcing the passing of the Super Computer, and reaffirming their commitment to the humanity and spirit of SUPERMAN! All in all, I liked the story. I was skeptical at first, but I must say I was pleasantly surprised. The Super Computer and the League were true to Superman. I also thought the great sacrifices of the individuals of the League were heroic, if not super heroic. Artwork was OK for an annual, but I would not lobby for any of these artist to replace any of the current Super-team. Arthur LaMarche (DrArt95@aol.com) ================================================= ERADICATOR #1, "Pinocchio: Prince of Lies" Writer: Ivan Velez Penciller: Roger Robinson Inker: John Lowe Letters: Chris Eliopoulos Colorist: Roberta Tewes Editor: Chris Duffy Cover: Roger Robinson and John Lowe August 1996 $1.75 US/$2.50 CAN RATINGS: Average: 2.75/5.0 Shields RG: Story: 3.0 Shields - A good beginning, a solid recap. Art: 2.5 Shields - Too dark, needed details. MC: 4.5 Shields - This is some excellent stuff. I just picked this up on a whim since I had some extra cash no me (I wasn't going to get this originally), and I really enjoyed every bit of it. I hope I have enough extra cash for the *second* issue... SF: 1.5 Shields - Can't say much for this book. The art is only so-so and the story is hard to follow. You really need to know the backstory on the Eradicator or you'll be lost -- and even then you might be. DS: 2.5 Shields - A disappointment, but I'll buy the next issue to see if it gets better. JS: 2.5 Shields - This first issue was confusing, though I suspect it was meant to be so, at least to some extent. Robinson and Lowe's art here is very rough. To be honest, I hope this miniseries is used to ditch the Dr. Connor incarnation -- the Eradicator was so much more interesting before. If you like the Eradicator (as I do) as a character and want to know what it is that has been slowly destroying his sanity, this is for you. If not, you can probably give this one a pass. The book is mostly a recap of the Eradicator's (short) history, and a necessary lead in to the series. There is enough new material to make it worthwhile in its own right. There is a mystery villain, a psycho hero(?) destroying his family and friends, and a cliffhanger that I suspect will have some serious effects on Superman himself. If I could ask for any one thing to make the book better, it would be that the near whiplash pacing of the story be improved. This could be what the author was trying for, but I hope not. It was a tough read in some places. The artwork was not up to the standards that I use for judging the main line of Superman titles. The inking was too dark and heavy for my tastes. The lack of background detail made the art feel rushed, and some of the foreground details don't make sense (yet?). Though for all of that, there are a few pages that really worked. The two page scene where the Eradicator visits the Lang farm to say good-bye to Lana is a good example. * * * The Eradicator (David Connor) is losing it. The delusions that have been slowly driving him mad are getting worse and more frequent. He can no longer fight them back, even when he knows that what he is seeing isn't real. After totaling a chunk of Metropolis, and a portion of STAR Labs, he decides that he needs to leave Earth, possibly killing himself (if he can think of a way to do it). Before he goes, he decides to say a few good-byes. After a tense confrontation with his (David's) wife, he decides to listen to the voices in his head. I don't want to spoil anything with where they take him, but it was a real surprise for me, and may have some (serious?) effects on the Superman continuity. Rene' Gobeyn (gobeyn@kodak.com) ________________________________________________________ MINISERIES AND GUEST APPEARANCES (cont) --------------------------------------- KINGDOM COME, Book Two: Truth and Justice By Mark Waid and Alex Ross with Todd Klein Painted Cover by Alex Ross August 1996 $4.95 USA/$6.95 CAN RATINGS: Average: 4.7/5.0 Shields RG: 5.0 Shields - Well paced, tightly plotted, breathtaking art. SF: 4.0 Shields - Alex Ross does some fantastic work and the story is great as well. The characterization of Superman here is not traditional but it is an Elseworlds. WN: 4.5 Shields - Superb art and a compelling what-if storyline which is really heating up. JS: 4.7 Shields - Just a tiny bit confusing on the first read, but overall the story just keeps hitting the nail on the head. Superman's group seems to have some pretty formidable opponents lining up for a shot at them, and something tells me that Magog still has an important role to play. And Ross' art is as beautiful as ever, each page with so much eye candy that only the most knowledgeable readers could hope to catch it all! VV: 5.0 Shields - Can I give a 6? Unbelievable artwork. Terrific story with a ton of twists. BUY THIS BOOK. Give up the candy bars and soda if you must, but get this book. Just when you think you had everything figured out, Mark and Ross throw a couple of curves out of left field. Did I tell you to get this book yet? If you don't have this book (or the first issue), stop reading and go get it. You may never forgive yourself if you miss this series. It is truly some of the best work being done in the industry. Waid and Ross have managed to bring a darker, but familiar DC continuity to life. As a reader you can easily see how with very few changes the events of this story could come about in today's continuity. The fully painted art shows the changes to our heroes in their faces and posture. You can watch as Superman hardens himself for the tasks ahead. You can almost feel the pleasure Luthor feels as Batman joins him in the MLF. I've read my copy six times already and I'm still finding little things seemingly hidden in the background of the panels. For example, look for Deadman in the Meta bar scene. Does he see McCay and the Spectre? You decide. As The Spectre and Norman McCay continue their journey, we get to watch as Superman rebuilds the Justice League using both new and old heroes. Basically, Superman is giving the new generation of vigilantes a choice: His way, or no way. Too bad Luthor and the Mankind Liberation Front (MLF) don't see things his way. We attend a meeting of the MLF, with Norman and the Spectre, and find out that they are actually behind some of the new vigilantes and directly responsible for making things worse for humanity in a complex plot to take over the world. Luthor tells the MLF that they have nothing to fear from Superman, because he has an insurance policy in the form of Captain Marvel. We don't learn why Cap is there, but I'm sure we'll find out soon. Superman and his heroes begin to run into more and stiffer resistance to their efforts. It isn't until Superman and Wonder Woman approach Aquaman, whom they ask for permission to build an underwater prison for the heroes who can't or won't mend their ways, that we start to really see some of the counter plots and resistance that the MLF is throwing in their way. Aquaman turns them down. He has finally come to grip with who he is, and that person is King of the Seas. The doings of the land folk have little to do with him. Superman and Wonder Woman find one of the bars where the new metas gather. Superman makes a "my way" speech and leaves. It seems that many of the young metas are about to join him when Green Arrow comes in. We don't get to see what he does to convince them not to join Superman's legion, but somehow we know that he manages. Little seems to be going right for Superman and the new League. Just as he and Diana are finally starting to get things together romantically, they are informed that Magog has been found in the ruins of Kansas. It is now that we are given more of the details concerning Superman's retreat from the world. Magog tells the story of Superman's departure from the world. It seems like the point where this world differs from the regular DC continuity is that, here, the Joker came to Metropolis and managed to kill 93 people at the Daily Planet. One of them was Lois. When Magog finally found Joker, he killed him. Superman tries to bring Magog to justice for killing Joker, only to have the jury acquit Magog. Superman sees this as the world validating Magog's methods and decides that he and his ways are no longer needed or appreciated. After listening to Magog blame him for everything that has happened since he left, Superman seems to finally realize that they are at war. The story closes with Batman and his team finally joining forces with Luthor and the Mankind Liberation front. Rene' Gobeyn (gobeyn@kodak.com) ================================================= NEW GODS #10, "Sacrifice of the Gods" Guest-Starring Superman Writer: Rachel Pollack Penciller: Stefano Raffaele Inker: Brian Garvey Letterer: Clem Robins Colorist: Patricia Mulvihill Assistant Editor: Jason Hernandez-Rosenblatt Editor: Paul Kupperberg Cover: Stefano Raffaele August 1996 $1.95 US/$2.75 CAN RATINGS: Average: 2.4/5.0 Shields RG: Story: 3.5 Shields - Little characterization, but we learn some interesting things. Art: 3.0 Shields - Nicely detailed, but too stylized. JS: 1.5 Shields - Even as one who has been reading this series, I didn't understand Superman's purpose here. His appearance is very much a throwaway. And Raffaele's depiction of the Man of Steel is just plain ugly. A good story overall, but you do need to be more than a little familiar with past events in this title for this one to work. For those of you who haven't been following this title and its companions, this one will probably be hard to follow. On the other hand, if you have been following the New Gods since Kirby created them the overall story line of the battle between Good and Evil, New Genesis and Apokolips, is coming to a conclusion. Superman just might end up playing a part in this as well. Only time will tell. The story flowed well between scenes, but I didn't particularly care for the way the Superman character was portrayed. He didn't seem to have the confidence that I've come to expect. While this might be due to his interacting with characters who are supposed to be real gods, he doesn't come off as good as I would like him to. The art in the story is very nicely done. The detailing and backgrounds are very well done and fit well with the story being told. My only complaint is that the human characters are too blocky and angular for my taste. The human characters are shown with rough edges, in poses that must have come out of body building magazines. The poses and posturing managed to distract me from the story being told a few times. This is not what I look for. The inking was, for the most part, very well done, and a step above what I usually find. The use of shadows and cross-hatching to bring out details was what saved the art in the book for me. The Earth is being wracked by earthquakes and intense storms. Superman is helping in any way he can, but he is unable to find the source of the problem. He is contacted by Highfather of New Genesis to aid Orion in his battle against S'ivaa, who has been awakened, and is trying to destroy New Genesis. Highfather and Darkseid need Superman to delay and distract S'ivaa while they prepare to sacrifice themselves to the Source to restore its balance between Light and Darkness. That Darkseid has his own agenda goes without saying. Superman and Orion do their best, but it doesn't look good. While they are battling S'ivaa, Orion helps Superman (and us) understand a bit more about the true nature of New Genesis and how it relates to our reality. The story is supposed to conclude next issue. Rene' Gobeyn (gobeyn@kodak.com) ________________________________________________________ AFTER-BYRNE: Reviews of the post-Crisis Man of Steel ---------------------------------------------------- A TRIBUTE TO CURT SWAN ---------------------- by Mark Lamutt (markdl@netcom.com / mdlamut0@wcc.com) Superman, DC Comics, and millions of fans worldwide suffered a huge loss the week before Father's Day last month when Curt Swan, one of the most incredible artists that has ever laid pencil to paper creating the wonderful pictures behind the Superman stories, passed away. To be honest, I am only familiar with his work with Superman over the last two decades or so. I started reading Superman comics in 1975, when I was but the tender age of six. Although I had no idea the process behind creating a comic book at the time, and for many years thereafter, I vividly remember how strongly the stories sprung from the pages of each book I could get my hands on. And looking back now, I realize how truly special Mr. Swan's work was, and how important it was to the world of Superman. For me, Superman looked the way he did because of the way that Curt Swan drew him. I have no memory of any of the other artists' work from the time, but every time I have seen Curt Swan's work, especially in recent years in a Superman book, I have known right away that it was his work. Because, for me, that's how Superman was and is supposed to look. A perfect example of this came just the other day when I was catching up on some recent issues. Opening SUPERMAN #114 (Aug 1996), and reading through the story, when I saw page seven, I was floored. Superman looked like he always had years and years ago as I was growing up. Talk about bringing back fond memories. The same thing happened when I read ACTION COMICS #700 last year. There are certain styles of things that you grow up with in life, and that will stay with you throughout your life - one of them for me is Curt Swan's Superman. To Mr. Swan's family and friends, I humbly offer my deepest condolences. I knew him only through his work, but I have to say, that I will miss him very much, especially while turning the pages of future books. In Mr. Swan's memory, I give his vision of Superman my highest rating - 5 shields out of a possible 5. Stay tuned next time as the Blackout resumes with Part 4 in SUPERMAN #62. ________________________________________________________ Manuscripts of Steel -------------------------------- Reviews of After-Byrne Superman special stories by Denes House ------------------------------------------------------------------------ Legends of the World's Finest (Books 1-3) Written by Walter Simonson Painted Art by Dan Brereton Painted Cover by Dan Brereton 1994 Prestige Format, $4.95 US/$6.50 CAN Rating: 2.0/5.0 Shields --------------------------------------------------------- Have you ever wanted to see someone else's dreams? Some of us have problems even remembering our own, but have you ever listened to someone explain their dream and you wished that you could have "been there"? I've often wondered if, given the inter-connected and highly interpretational nature of human memory and thought, one could even understand another person's thoughts or dreams. Or would they be so alien to our own "way" of thinking that we would be helpless to make sense of them? Would they, in the end, wind up confusing us more than enlightening? LEGENDS OF THE WORLD'S FINEST (hereafter LOTWF) explores what happens when Superman and Batman exchange dreams. In the instant classic Dave Gibbons/Steve Rude miniseries WORLD'S FINEST, there is a striking parallel scene where Clark Kent and Bruce Wayne's dreams are placed side by side. Clark dreams of being rocketed to Earth by his father Jor-El as the planet Krypton explodes in an emerald blast, while Bruce's dreams are filled with the gunfire of a common thug as his parents are ripped away from him in the tragedy that created the Batman. This scene is set up so as to emphasize the similarity of the two classic characters' origin stories. LOTWF stresses their dissimilarity. A friend of mine often remarks on the importance of beginnings. "Where you start out has a lot to do with where you end up." The story opens with a young Scottish lass, rebelling against her parents, rowing out to Castle McDougal, the ancestral home of the Clan McDougal, the family under the curse of the Silver Banshee due to their meddling with magical matters beyond their ken. The lass finds an ancient, leather-bound book, and against the almost unheard warnings of the McDougals' good-spirit watchwoman the Old Crone, brings it home. That night, she recites one of its incantations, and summons up a monstrous demon, who carts the girl off to the castle. He in turn recites a spell from the pages, and turns the girl into a host for the Silver Banshee! The demon is Tullus the Damned, umpteen-great Grandfather of the McDougal clan, who centuries before betrayed the McDougals to their enemies and forced them to turn to witchcraft for survival. Tullus has spent a thousand years in the clutches of Blaze, the mistress of the underworld, and has escaped, seeking (he claims) to recompense for his sins. He promises the Banshee that his hope is to free her from the curse she is under, and give her peace at last. To do this, he must hold the searching Blaze at bay. He realizes that a lost soul cannot do this, so he seeks allies to help him. Superman is his first choice, but his overwhelming goodness proves a deterrent for Tullus and the Banshee. Their second choice is Batman, darker and also formidable, but all too human. If only there were a way to combine the two? So Tullus exchanges the heroes' dreams. Their sleep becomes fitful. Batman's tragic loss darkens Superman's soul, and Superman's hopeful dreams cause Batman to lose his menacing edge. Neither hero is aright with the other's origin driving him. Of course, eventually we learn that Tullus has not reformed, his motivation is still conquest of the earth. He cares nothing for Banshee, who has fallen in love with the Dark Superman (and vice versa). The Old Crone, aghast at the evil that has been unleashed, prepares Batman for battle, ironically allied with the demoness Blaze. Let me say up front that I really, really hate most Superman stories dealing with the magical realm. As a Christian, I find them thick with evil in a way that is difficult to describe. I was drawn to this series by Dan Brereton's (covers for Big's LADY JUSTICE) painted artwork, but in the end, even that was no match for my revulsion for this kind of story. Walt Simonson (renowned artist on Marvel's THOR and most recently a story in BATMAN: BLACK & WHITE #2) crafts a story that adheres to its own internal logic. The dialogue is suitably stilted, with all the thees and thous and Gaelic incantations that you'd expect from a story like this. It is reasonably paced, with good character development on the part of Tullus and the Banshee, whose motives are subtle and changing, yet make sense. The core of the story, it's premise, is an interesting one, but it was difficult to watch Superman's slide into evil. This is the man who resisted Blaze to the bitter end in all previous encounters. Now, a simple spell drives him to evil. It was tough to swallow, and even harder to like. Dan Brereton's painted artwork is dark and moody, but inconsistent. He has a powerful drawing style, and the pencil marks show through the watercolors, giving the art a fresh, sketchy feel. His men are muscular and grim, his females voluptuous and sensual. The art gets far less detailed and much blockier at points that makes the artwork feel rushed. This especially happens in Book Three. Capsule review: Story: Well constructed, but it does some extremely uncomfortable and almost mean-spirited things with the characters. 3 Shields out of 5. Art: Stylish and powerful, but inconsistent and at times rushed. Still, Brereton's one of the better painters out there. 3 Shields out of 5. Overall: Based on objective criteria, I'd give it a 3 Shield rating, but my intense dislike for these forays into the mouth of Hell prevents me from doing that. 2 Shields out of 5. Denes House ________________________________________________________ SUPER MERCHANDISE ----------------- Information on Forthcoming Superman Merchandise Assembled by Jeffery D. Sykes The information which follows is reprinted without permission from Diamond's PREVIEWS and is in no way meant to serve as a replacement for that magazine. For further information on (and in many cases, pictures of) the below merchandise, see recent issues of PREVIEWS! ABBREVIATIONS: ------------- FC: Full color HC: Hardcover PB: Paperback PI: Inquire about price SC: Softcover Unless otherwise indicated, the product is from DC Comics. Also keep in mind that dates listed are when Diamond will be able to distribute the product in question. For some merchandise (books and toys especially), you may be able to find the item at a retailer earlier than this given date. These monthly updates only list new merchandise solicited by PREVIEWS. For a full listing of Superman-related merchandise, visit the Kryptonian Cybernet Homepage! SEPTEMBER: --------- THE AMALGAM AGE OF COMICS: THE MARVEL COMICS COLLECTION TRADE PAPERBACK (Marvel Comics) Written by various, Art by various Wraparound cover by Dave Gibbons and Angus McKie Collecting Marvel's Flaming Hot Amalgam Comics! Gathered in one volume for the first time: SPIDER-BOY, MAGNETO AND THE MAGNETIC MEN, BULLETS AND BRACELETS, SPEED DEMON, BRUCE WAYNE: AGENT OF S.H.I.E.L.D., and X-PATROL! Spinning out of MARVEL VERSUS DC, this shared universes merged cool characters like Captain America and Superman to get the star-spangled Super Soldier! Now all the fun is bottled in a handy package! Scheduled to arrive on September 11 SC, 7x10, 160 pgs, FC $12.95 THE AMALGAM AGE OF COMICS: THE DC COMICS COLLECTION TRADE PAPERBACK Written by various, Art by various Wraparound cover by Dave Gibbons and Angus McKie DC offers a softcover collection of its six AMALGAM one-shots, the best-selling stories of the heroes that came into being when the DC and Marvel Universes fused into one! Now in one volume are LEGENDS OF THE DARK CLAW, SUPER-SOLDIER, AMAZON, JLX, ASSASSINS, and DOCTOR STRANGEFATE. This collection also includes art from the AMALGAM trading card series and a new wraparound cover by Dave Gibbons and Angus McKie. Scheduled to arrive on September 25 SC, 7x10, 160 pgs, FC $12.95 LOIS & CLARK: A SUPERMAN NOVEL (Prima Publishing) by C.J. Cherryh When Superman is called away to avert disaster in Eastern Europe, Lois springs into action, entering a collapsed hotel to save lives -- becoming a national celebrity in the process. In the aftermath, Superman is accused of being remiss in his duty to protect Metropolis, and Lois' personal life is pried open for the world to see. Faced with mounting professional and personal doubts and pressures, will the engagement between Lois and Clark succumb? And when Lois discovers that there's more than meets the eye behind the hotel's collapse, will even the power of Superman be enough to save her life? CAUTION: All information subject to change, but should ship no later than 90 days past its scheduled shipping date. HC, 6x9, 288 pgs $20.00 SUPERMAN ACTION PACKS TRADING CARDS (Skybox) This fantastic series is tailor-made for the young collector, or any collector with a "sweet tooth!" With cards based on the new SUPERMAN animated TV show, each pack contains die-cut pop-ups of your favorite characters from the hit TV show, cards that spotlight images based on the animated series, die-cut puzzle cards, coloring cards with trivia questions, and one piece of trading-card sized bubble gum with the image of a character from the TV show printed on it! CAUTION: Information is subject to change; may ship late. ?? cards per pack, 48 packs per box PI DC COMICS OVERPOWER CCG STARTER DECK (Fleer/Skybox Games) A major expansion to the Marvel OverPower Collectible Card Game -- DC OverPower! These completely playable (and fully compatible with the Marvel Cards!) Starter Decks contain a random assortment of Heroes and Villains found in the DC Universe, including Superman and Batman! An introduction of a new power type not previously found on Marvel OverPower Cards (Intellect) allows players to add variation in deck building strategies. Also, new Ally cards feature such characters as Alfred Pennyworth and Lois Lane, adding yet another new dimension to strategy. With original artwork by DC's top pencillers and inkers (including John Byrne, Tom Grummett, and Mike Wieringo), an easy-to-learn game mechanic, and new features, these cards are sure to be brawl-to-brawl fun! CAUTION: All information subject to change, but should ship no later than 90 days past its scheduled shipping date. 69 cards per deck PI DC COMICS OVERPOWER CCG BOOSTER PACK (Fleer/Skybox Games) Expand your character base with these cool booster packs, designed to give your OverPower deck more of the DC Comics cards you need! All cards in the booster pack are completely compatible with the Marvel OverPower CCG. CAUTION: All information subject to change, but should ship no later than 90 days past its scheduled shipping date. 9 cards per pack PI SUPERMAN/BATMAN 2-PACK PLATINUM EDITION (Kenner/Hasbro) A PREVIEWS Exclusive! Superman and Batman are the world's finest super-team, and Kenner/Hasbro and PREVIEWS have teamed up to bring collectors this special, limited-edition two-pack available only through PREVIEWS! Limited to 15,000 pieces, this two-pack (similar in design and contents to the mass market version) comes with two all-new cyber-link Superman and Batman action figures -- and a special exclusive Platinum Edition full-size Elseworlds comic book by Christopher Priest, Eduardo Barreto, Dick Giordano, and Mike DeCarlo, and featuring an all-new cover illustration by John Byrne! (Note: Not available outside the U.S.) CAUTION: May not be available in some areas due to licensing restrictions. PI SUPERMAN COSTUME (No company indicated) Perfect for Halloween! You may be no Dean Cain (or even Bill Murray, for that matter) but you can still look like the classic Man of Steel thanks to this outfit! Costume comes complete with jumpsuit, attached boot tops, belt, and cape -- you supply the super-powers! Fits up to approximately men's size 36. CAUTION: All information subject to change, but should ship no later than 90 days past its scheduled shipping date. $45.00 ________________________________________________________ THE PHANTOM ZONE: Reviews of the pre-Crisis Man of Steel -------------------------------------------------------- THE GIRL FRIEND AND THE PAL: LOIS AND JIMMY IN THEIR OWN COMICS ---------------------------------------------------------------- By Jon B. Knutson (jonknut@aol.com) As promised, this month I review LOIS LANE GIANT 113, featuring "The *Strangest* Love Stories Ever Told!" This was around the brief romance comics revival at DC in the early 70's, and helps explain the theme of this issue. The first story in this issue (which originally appeared in LOIS LANE 49, May 1944) is drawn by Kurt Schaffenberger, one of my favorite LL artists. Superman's off on a mission in space, and Lois has to find scoops without his help (nice guy, eh?). Lois gets a tip to show up at the corner of 6th and Regent to get the story of the year. Lois shows up, and hears an explosion at a nearby lab. Entering it, she finds a scientist, Dr. Drolc, putting out a fire. He explains that he's built a Talent-Tracer, which he proceeds to demonstrate. Lois presses the button marked "athlete," and the machine tells her where the world's greatest unknown athlete can be found. Lois jets to Florida, armed with a pair of sunglasses that will tell reveal an aura around whoever the Talent-Tracer has spotted. Down there, she spots a man throwing baseballs through a knothole in a fence. Another test finds a man extremely talented as a violinist. Lois' third test is to try the newest button, "super-person!" The machine leads her to Albuquerque, New Mexico, where she finds a handsome Indian revealed by the glasses, who recognizes Lois from her newspaper articles. Going along with him, she finds that Strong Bear has super-hearing, super-breath, and invulnerability. Lois confronts him on this, and he tells her he is super-powered, but he's not from Krypton ... he gets his powers from the last of the great medicine men, an ancestor of his. A totem pole erected in this ancestor's memory is shown to Lois, and Lois is amazed that he's shared his secret with her so quickly. Strong Bear surprises her by saying that he fell in love with Lois at first sight. He kisses Lois, and she thinks "His kiss is every bit as exciting as Superman's!" I believe I've pointed out in earlier columns how the Lane women seemed awfully fickle? Strong Bear proposes and Lois accepts (she does that kind of thing a lot, y'know), and Strong Bear celebrates by ending a drought. He gives Lois a necklace made of Kryptonite (which doesn't bother him) as well as Strong Bear's ring (the tribe's chief insists on that, though Strong Bear is taken aback by the idea). While Lois is taken to the Pool of Echoes as part of the ceremony, she thinks she's seen that ring before, but can't recall where. While bathing in the pool, Lois calls out "I love you, Strong Bear!" which echoes (gee, guess that's why they call it the Pool of Echoes, eh?) many times. Lois later suddenly recalls where she's seen the ring: on the scientist, the baseball player, and the violinist. Strong Bear tells her he needs to get the ring back, but startled, butterfingers Lane drops the ring, which breaks. Strong Bear collapses to the ground as a gas escapes from the hollow ring. Strong Bear changes into a blue-skinned alien, quite grotesque, who posed as all of the persons wearing the ring. Lois figures the ring gave him the powers and talents, but he says that he had super-powers when he arrived on Earth. The ring's gas allowed him to live on earth and metamorph him into any human shape he desired. Since the ring is broken, he's going to die, and tells Lois that on his home world of Zavak, he possessed scientific genius. When war broke out between Zavak and a rival world, nuclear weapons were used. To protect the women and children, they were loaded into spaceships to evacuate the world, but an asteroid destroyed the ship. Fallout then mutated the men into their blue-skinned ugly form. Bamor, the alien, was selected to leave the planet and survive elsewhere... namely, on Earth, which he'd monitored from his lab on Zavak, falling in love with Lois via long distance, so to speak. He didn't expect the chief to give Lois his ring, as he couldn't last without it. He requests one last favor... a kiss before dying, which Lois grants him before he crumbles into dust. Returning to Metropolis the next day, Lois forgets to take the Green K necklace off when Superman visits her. This was a fairly nice story, save for the "Talent-Tracker" and sexism involved with it. Of course, the Schaffenberger art alone gives it five shields out of five in that department, and the writing earns it a solid three shields. One certainly can't imagine today's Lois in this story, though! The second story reprinted is "The Monster who Loved Lois Lane!" from LL 54 (Jan. 65), which I happen to also have in my collection. The art, once again, is Schaffenberger, while the writing is by Edmund Hamilton. The story starts with Clark ducking out of the office so Perry can't give him a story (as Superman, he's got a scheduled mission coming up). Lois gets the story, to cover a big scientific breakthrough by a physicist named Dr. Elder. Lois shows up at Elder's lab and finds that he's created a machine that can create a doorway into another dimension, which he demonstrates. Lois sees a big pink monster with hair and tentacles through the doorway, which frightens her, but before Elder can shut off the doorway, the monster enters our own dimension, accidentally damaging the machine (Interesting Coincidence Department: This is thematically similar at this point to the Martian Manhunter's origin, save that it was Dr. Erdel who summoned him to earth... Erdel can be anagrammed into Elder, too!). The monster grabs Lois and pulls her near him, setting her down and saying, "Herko!" which Lois assumes is its name. She runs out, and is nearly hit by a car, but Herko saves her, smashing the car to bits (fortunately, the driver bailed out first). The police arrive, and start shooting, but the bullets bounce off Herko. Lois insists the monster was trying to protect her, and the police tell her to keep him out of the city. As Lois leads Herko away, Elder tells the police that he'll have the dimensional door projector fixed in a few hours. There then follows a series of amusing incidents where Herko tries to show his love for Lois by imitating what he sees human couples giving each other (a bouquet of flowers isn't enough for Herko... he offers Lois an entire tree!). Jimmy Olsen spots Lois with Herko and assumes the worst, summoning Superman, who starts fighting Herko until Lois points out that their battle could wreck the entire city, and he should seek Dr. Elder and ask for his help. Elder tells the Man of Steel that if Lois can lead Herko back to his lab, they might get it back to his own world. Superman tells Lois this (there's a great reaction shot of Herko glaring at Supey here), and she leads him back to the lab, and through the re-opened dimensional doorway into Herko's home dimension. After Herko follows her through, Superman sucks her back in with his super-breath (make your own joke here), and shuts the machine off. Lois, feeling tearful, asks Dr. Elder if he could open up a peephole into Herko's dimension to see how the big pink lug is taking this... and he's not taking it very well. Lois feels Herko will wait and wait for her... but maybe someday she'll reopen the doorway and let him see her again. This was a *much* more touching story than the first one. Herko's appearance is comical, yet still shows his emotional state (the kind of monster that could only come from Schaffenberger's pencil), and ya just can't help but feel sorry for the guy! Five shields out of five for the art, and four out of five for the story (aside from the similar Martian Manhunter origin bit, it also feels like some of the original Titano plot was cannibalized as well, in the "monkey see, monkey do" bit). Herko didn't have too long to wait to see Lois again, though, as the next story (another Hamilton/Schaffenberger job from LL 57, May 65) reveals! Jimmy sees Lois moping at her desk and finds she's thinking about Herko. She feels guilty about tricking him, and wants to see if Herko's still waiting for her. Jimmy thinks it's ridiculous, but he'll go with her to Elder's lab if she must go (Jimmy's been getting lessons from Superman on acting like a chauvinist towards Lois). They get there, and even though Elder is not in, a peephole is opened for her again (it seems to be a reprint of the same panel from the last story), and impulsive Lois opens the door up more to walk through. Jimmy tries to stop her, but trips over a spotlight stand, which hits the off switch for the projector after Jimmy also goes through the door. Herko spies Lois, and demonstrates he's learned a bit of English from his last trip, talking more like the green stupid Hulk. Herko assumes that Lois returned to marry him! He introduces her to his mother (who looks like Li'l Abner's Mammy Yokum, complete with corncob pipe), and Jimmy says Lois will have to play along until they find a way home. They then learn that Zagga, the "girl next door" (yecchh), loves Herko, and wants to marry him, but Herko wants Lois (hey, there's a title for LOIS AND CLARK next season if Clark doesn't return from New Krypton... "Lois and Herko: The New Adventures of Pinkmonster"). Lois figures if Jimmy starts courting Zagga, Herko will get jealous. Jimmy is shamed into trying when Lois chides him for being cowardly (smart is more like it... Herko and his people are *very* strong, y'know). Jimmy is more successful than he could have imagined he'd be! The two Planet reporters *really* get worried when they see what kind of health test has to be passed before anyone can be married on that world (being hit on the head with a club). Jimmy is told to try making Herko jealous even harder, but finds himself engaged to Zagga as well! Lois then discovers that Herko reacts to her make-up the same way Superman reacts to Kryptonite, and uses that to help put Herko and Zagga together (gee, wasn't she wearing cosmetics before this?). Lois and Jimmy return to their original entry point to find that Elder has reopened the door, and taking a look through another peephole, find that Zagga and Herko did, indeed, get married. Next month: Reviews of the remaining stories in this LOIS LANE ANNUAL, and the first story or two from JIMMY OLSEN GIANT 104, as well. If you have any issues of JIMMY OLSEN or LOIS LANE you'd like to see me review in future issues of KC, or just want to offer some comments on this or other reviews, feel free to e-mail me at jonknut@aol.com. ________________________________________________________ INTO THE ARCHIVES ----------------- by Neil A. Ottenstein (otten@gluon.umd.edu) SUPERMAN #6, Sept./Oct. 1940 The sixth issue of SUPERMAN was the first bimonthly issue. The first two stories give a quick summary of what is to follow in the story, while the third sets the scene and the fourth gives a summary of Superman's powers. All four stories are 13 pages in length. 1) Lois goes to dig up some news and finds herself framed for the murder of a jewel collector. Superman defies the police by freeing Lois from their hands. Lois has an interesting description of their relationship: "You continually act as tho (sic) I don't mean a thing to you, and yet you always manage to show up and help me when I get into difficulties." Through a bluff Superman manages to get the killer to show his guilt. There is amusing interplay with rival reporter "Scoop" Carter of the Morning Pictorial. 2) Racketeers take over the town of Gateston. George Taylor, the editor of the Daily Planet sends Lois and Clark to investigate. They arrive in time to see the Gateston Gazette's editor blown up. Superman finds his murderers and delivers them to the police. Once again during this story Clark makes Lois go unconscious so he can save their lives with his powers. While all the other stories have a half page splash panel, this story has a full splash page - first one used on a Superman story. 3) George Taylor sends Clark to cover the departure of the relief ship for San Caluma, a disaster plagued country in South America. Superman stops forces aimed at stopping the relief. 4) Superman stops a construction scam. More details below. After the first story is another Supermen of America notice. One of the benefits to joining the club is receiving the Superman code. Previously Superman's secret messages appeared only in ACTION, but for the first time one appears here in Code Saturn No. 5. Other pieces in between stories include: "Too Big for Marbles" by George Shute in which a young boy helps arrest some racketeers; a "Driftin' Dave" cartoon by Alger; a Super Strength page drawn by Jack Burnley with Superman giving exercise tips; an advertisement for the second issue of Batman; "The Strangest Case" by Gardner F. Fox in which an inexplicable murder turns into an accident; an advertisement for the Superman radio show; "Sports Close-ups" by Jack Burnley focusing on baseball pitchers' sore arm puzzles [Ron Goulart identifies the Jack Burnley art here and earlier in the foreword mentioning that he had been a sports cartoonist before comics]; and various comics advertisements as had been seen in previous issues. The fourth story starts with disaster at the new department store Grimes Brothers. On opening day, the walls collapse. Clark is sent to investigate by his editor and sees what is left of the store. He goes to talk to the head of the construction company. At the office building where the Globe Construction company is located, a man hurriedly exits as Clark enters. Noticing that the door to the Globe office is open, Clark enters to find a dead body - the head of the firm. Sergeant Clancy enters, surprised that Clark seems to "manage to show up at the scene of crimes before" the police. He points to a gun in the corpse's hand and states it was not murder, but suicide. Clark, using his microscopic vision sees finger marks around the throat, implying he was choked before being shot. A further clue is that there was one fingerprint missing on the right hand and thus the killer must be missing one finger. Clark visits the wife of the victim and she reveals that he had been fronting for someone and there was friction between him and his employer. She doesn't know who he fronted for, though. Back at the Daily Planet, the editor now assigns Clark to cover the costly new municipal stadium that is being built. Lois comes along with Clark to the construction site. As they near the site a worker forces them away. When he is pushed down, he explains to Lois that he won't fight back, because "only morons resort to physical violence!" Lois only sees cowardliness and Clark tells the worker he is going to report him to his employer. Clark goes to Jackson Construction Company, and notes with amazement that Jackson only has four fingers on the right hand. He apologizes for the overzealous employee saying that it was due to his insurance company policy. Clark is suspicious of Jackson, but has no proof that he is the murderer. Clark decides to investigate the construction site as Superman. He first experiments with the cement and then the wood and sees that it is all inferior material. Construction workers attack the snoop, ineffectively, with a crane, which Superman easily upends, but he then loses his balance and falls into a cement mixer. He breaks free just as two workers fall from a scaffold into cement. He dives in, rescuing them and takes them to a nearby hospital. Days later, Lois goes to the dedication of the new stadium. Clark declines her invitation as he has an important task to do as Superman. He goes to Jackson's office and overhears a conversation between him and the mayor. Jackson wants the mayor to sign a release giving him prompt payment for the stadium work. The mayor first declines until Jackson threatens to expose him for receiving a cut on the department store deal through his subsidiary - the Globe Construction Company. Superman heads to City Hall and warns the mayor not to sign the release. The mayor summons his guards, but Superman holds the door shut with his little finger, much to the mayor's shock. He takes the mayor to Jackson's office and takes them both to the stadium. As the stadium is about to collapse, Superman straps his guests in at an observation tower as he goes to save the other people in the stadium. After allowing one group of people to leave safely he hears a cry for help from Lois at the same time he sees the children's section collapsing. He has instants to make up his mind on whom to save. Lois tells him to save the children. After saving the children, Superman unearths Lois from the wreckage. She says she is just shaken, but Superman knows better and takes her to a hospital. He then returns to the observation tower. Jackson is relieved to see him as everyone has now escaped but them. He attaches them under a flying plane and warns them that he won't release them unless they confess. Jackson confesses the murder and the inferior construction materials. The mayor confesses to his graft. He deposits them with the police. They want to be locked up in fear of Superman. Clark arrives at the hospital only to find out that Lois won't live without a blood transfusion. Clark asks to see if his blood is the proper type. Unnoticed he tears open his own skin as none of the hospitals instruments could hope to penetrate it. The doctor is shocked to see his blood "conforms to all four types." After the transfusion he is surprised to see an invigorated Lois, recovering within a few seconds. As they leave the hospital Lois says she feels stronger than ever. Back at the Daily Planet, Taylor informs them that Jackson and the mayor are getting jail terms and Lois gives Clark her eternal gratitude. She won't forget that his blood saved her life. Clark thinks, "with Lois more friendly, I'm tempted to forget my identity as Superman - but of course I must go on as I have!" For once Lois is not only thankful to Superman, but Clark as well. She is a little warmer to Clark in the story, inviting him to the stadium dedication and now she has another reason. This is a possible start to their building more of a friendship, despite Clark's apparent cowardliness at times, which she so despises. It is very interesting to see that Lois received a dose of "super blood." Not having read further, I wonder if there were any storylines that examined any effects of the transfusion. ________________________________________________________ TELEscopic VISION: ------------------ Superman on the Small Screen We've got a bit of treat for you this month, but we'll get to that momentarily. First the news: LOIS AND CLARK is set to begin filming on its fourth season on July 25. You should expect the season premiere slightly later than in previous seasons, probably on September 22. And finally, contrary to previous reports, it now appears that the season premiere will not be a two-hour movie. The "New Krypton" story line will still be resolved in two hours, but it will be shown over the course of two weeks. Below we've got Zoomway's wish list for the fourth season, reviews of "Never on Sunday" and "Tempus, Anyone?", and our special treat. One of readers occasionally works on the set of L&C as an extra. She has provided us with an article describing her work! And don't forget that we need your interview questions for the interviews with Eddie Jones and K Callan! Send them to Nancy at Nljfs@aol.com as soon as humanly possible. ________________________________________________________ ATMOSPHERE ON THE LOIS AND CLARK SET ------------------------------------ One of our readers works occasionally on the L&C set. She has written an article to tell us a little about her job. I found it to be an interesting insight as to a job which makes each episode seem more real, but doesn't get much notice -- except when it is missing. I hope you enjoy this article as much as I did. --Nancy * * * * * * * * * Extras, or Atmosphere as they are often called, are arranged through two of the main casting companies -- Central and Cenex. The production company calls them the day before and puts in an order for how many extras they need and what types (i.e., expectant mothers, twins, children, etc.). The casting companies then call the extras giving them the call time and place plus what kind of clothing and how many changes they should bring. When the actors arrive at the studio (or location) they check in with the 2nd Assistant Director or the 2nd 2nd (the 2nd A.D.'s assistant). They get their Vouchers (kind of like a timecard) and then go to wardrobe to have their costumes approved. Once dressed in the chosen costumes, the extras report back to the holding area. When they are ready to rehearse the scene with the actors, the 2nd AD chooses the atmosphere and tells them what they are to do such as shopping on a city street and crossing at a certain place or carrying files across the bullpen at the Daily Planet. The actors and extras rehearse the scene several times. After the rehearsals are done, the stand-ins take over and the extras are given a break. On the set the crew puts the finishing touches in lighting and decoration while the final touches of hair and makeup are put on the actors. When everyone is ready, they shoot the scene several times from one direction, then they turn the camera around and they shoot it from the opposite direction to get both points of view. Once the director gets all the shots he or she needs, they move on to the next scene on the list. It could be on the same set or another. The director does not shoot the scenes in sequential order. He or she tries to shoot all the scenes on each set on the same day to avoid needlessly moving back and forth between stages. This saves the production company both time and money. A typical day for the regular cast and crew usually lasts about 12-14 hours. For the atmosphere, the day can last anywhere from 4-14 hours, depending on how many scenes require extras. Once they are finished for the day, the extras are given their out times to fill out on their vouchers and are then released for the day. If they are working again the following day, they are also given a call time. The time shooting ends that night determines what the call time will be for the next day. There is a 12 hour turn around time between wrap time and resuming filming. At the beginning of the week, the day starts out early and tends to finish at a relatively decent hour. As the week progresses, the days run longer and start later, so by Friday, the call is usually rather late and the shoot day lasts sometimes well into early Saturday morning. Everybody works hard, as is apparent in the finished LOIS AND CLARK episode. The crew, as well as the cast, are all great and a pleasure to work with, even on such long days. ________________________________________________________ 4TH COMING ---------- by Zoomway (Zoomway@aol.com) This will be a relatively short article. Aren't you relieved? It basically amounts to a wish list for LOIS AND CLARK's fourth season. An amalgam of things that I felt worked in all three seasons, and things that may be better off not returning. I'll start with who and what I'd rather not see much of in fourth season. I don't want to see cyborgs or clones again. I know they've been like some tradition, or perhaps plague in all three seasons, but I'd just as soon we don't find either "c" word in fourth season. I also don't want to see the Kryptonians beyond the premiere. If they don't turn out to be Kryptonians, fine, I still don't want to see them. This is simply because I'd like more down-to-earth story lines in fourth season. Not completely flat-footed like the plot and villains from "Honeymoon in Metropolis" or "Contact" who were quite forgettable, but rather closer on a par with "Strange Visitor", "Whine Whine Whine" or "Tempus Anyone?". They all had their "fantasy" quality to them, but there was something that made them click, move well, and showcased what the program could do at its best. All of these episodes had a nice blend of drama, humor, Lois and Clark interaction, sub-themes, etc. Even the villains weren't paramount to the episodes' success. Believing the dilemmas, no matter how farfetched, and motivations were. I'd like the N.I.A. (National Intelligence Agency) lurking in the shadows and perhaps be behind some plot involving Superman. They may be concerned with national security on some level, but they seem to have their fingers in a lot of pies. Their otherwise supreme power would be threatened by someone like Superman. Perhaps they have a whole division at their operation dedicated to the study of Superman. Maybe even the old Bureau 39 hails from the N.I.A. Being a government agency, it would be able to circumvent a lot of legal channels to accomplish what it wanted, but still stay within some parameter of the law. It would also have nearly unlimited resources to use, and that gives it a lot of options. I don't know what will happen to Intergang if Mindy Church, as rumored, does not return. She made a good change-of-pace villain who was guaranteed to have more light-hearted and humorous plots, but the plots she was involved with were usually rather complex, and she was the queen of the "frame up." Not to mention her dumb bimbo disguise was extremely effective. So Intergang may end up in limbo. Above everything else, the show has got to get Lois and Clark married for real, and make their marriage an undercurrent theme for the season. Their relationship can't be fully explored until this happens. It's one thing when Lois and Clark live apart and Lois doesn't know Clark's whereabouts at three in the morning, but it's quite another when Lois doesn't know the whereabouts of her husband at that hour. Having Lois' family visit once Lois and Clark are married will open opportunities for humor as well as stress. Since Lois and Clark are waiting for marriage before becoming sexually intimate, then any story line drawn from that has to wait as well. Nothing overt, but rather a story in which Clark and Lois are both working hard and can't "connect" privately for several days, and then perhaps having that aggravated by visits from their parents. It creates the good type of sexual tension, and unlike the "bad" sexual tension, this type will find resolve. I'd also like to see Clark somewhat insatiable after he's finally lost his "patience" and have that as an issue they'll have to deal with. There's also the matter of both of them not being careful enough when Clark is dressed as Superman. Someone (undoubtedly Jimmy) will have to catch them in the act, and they'll have to find some clever way to undo the damage. Smaller issues would be to keep the supernatural themes to a minimum, and keep them clever when used. Though the supernatural is one of the few things that can work against Superman besides Kryptonite, such stories are difficult to put across for dramatic episodes, but a bit too intense to be used humorously. Have more of the Lois and Clark teamwork as in "We Have a Lot to Talk About", where Lois' knowledge of Clark being Superman can be exploited. Introduce a rival reporter who is suspicious of the Planet getting so many exclusives about Superman, and Superman being so chummy with the Planet. We rarely see Lois and Clark having to beat a competitor to the punch, and so having them run afoul of this guy occasionally might help add suspense as well as be an avenue for humor. Well, that's it for this month. Next month I'll talk about the historic nature of a married Superman. ________________________________________________________ EPISODE REVIEWS: ---------------- Episode #3-12: "Never On Sunday" -------------------------------- by Shane Furlong (Shane.Furlong@evolving.com) US Airdate: January 7, 1996 Guest Starring: Cress Williams as Baron Sunday Beverly Garland as Ellen Lane Carol Lawrence as Beverly Lipman Gary Dourdan as Ziggy Ben Reed as Matt Young Les Lannom as Rod Clemens Olivia Brown as Star Joe Palese as the detective John Mueller as the policeman Randal Keith as the passenger. Written by: Grant Rosenberg Directed by: Michael Lange "Never On Sunday" concerns a subject that I always have a little trouble with, Superman versus the supernatural. I'm not sure what the trouble with it is. I mean if I can suspend disbelief that Superman can fly, lift incredible weight, and see through solid matter why can't I believe in magic? I'm not sure why, but it's with this personal bias that I watched this episode. In the beginning of the episode, Clark is having a nightmare of being closed into a small space and it shakes him up quite a bit. The scene cuts to a man laughing with decidedly snakelike eyes. Strangeness continues in this episode as we see Clark throw away some mail as he enters the office and the same envelope then shows back up in Jimmy's hands. The envelope contains tickets to a magic show being given by Baron Sunday, the snake-eyed man from the intro, who's a famous magician who lives on a plane. The main story of this episode concerns the quest for revenge from Baron Sunday whose real name is John Hendricks. Clark had written a story on Hendricks long ago. Clark based the story on material given to him by an agent from the National Intelligence Agency. Hendricks was blamed for a gun smuggling ring in Jamaica even though he was not responsible for it. Matt Young, the agent who fed Clark the story, was really responsible for the smuggling. Like many episodes of L&C, the B story is about their relationship. This concerns their wedding plans and an apparent mismatch between their feelings about the size of the wedding. Clark thinks they are having a small wedding but Lois apparently wants a big one. She involves her mother and a bridal consultant, and the interplay between them all reminded me of the movie FATHER OF THE BRIDE. Back to the A story -- Young and another NIA agent, Rod Clemens, set up Hendricks to take the fall with Clark as an unwitting accomplice. They believed that Hendricks was killed in the bust, but he was only wounded and was rescued by voodoo practitioners in Jamaica. They empowered him with magical abilities. Hendricks, as Baron Sunday, comes to Metropolis to extract revenge from Young, Clemens, and Clark. He does dispatch Clemens by causing him to have a flashback to Vietnam while driving a bus. Young has a vision of dogs attacking him, and he too would have died but for some quick thinking on Clark's part and a nearby light pole. Baron Sunday has more trouble causing the death of Clark but he is able to weaken him with these visions. As the story continues, Clark continues to have the vision, and it gets more and more vivid. He sees himself being closed up in coffin and hearing a loud noise like thunder. After consulting with Lois' neighbor Star, they are surprised by Ziggy, Baron Sunday's assistant, who dies trying to warn them. Clark and Lois go to confront Sunday with Star's advice that to fight the magic Clark needs to hold onto something he loves. With that in mind Lois slips her engagement ring in Clark's pocket without his knowledge. Sunday was expecting them and brings out a doll of Clark and paralyzes him with fear. While Sunday flies away with Lois, Clark rolls in pain on the ground. Grasping at the ring that he spies on the ground Clark suddenly realizes what the vision is, it is his parents closing him up in the capsule for his journey to Earth. Once the vision had no hold on him Clark was able to save Lois and stop Sunday. Returning the plane to the ground, Lois and Clark discover that Sunday has disappeared. We see a snake slithering off with some voice-over laughter. The episode ends with Clark and Lois on the balcony while her mother and the bridal consultant discuss the merits of doves versus Swiss bell ringers. This episode was pretty good even with the bias I mentioned earlier. There are several good scenes like the one of Baron Sunday's performance where Jimmy was made to believe he was naked in the second grade. The scene was supposed to be humorous, but it really played rather pitifully -- Justin Whalen did it well. (Note to trivia buffs James Bartholomew Olsen was born in Metropolis on February 15, 1974. Clark's birthday is February 28, 1966.) Another cute gag in the episode was when Star asks if Lois has anything evil in her purse. Lois says, "Only my credit cards." The scene where Clark gives Young an electric shock to get his heart started again was inventive as well. Clark's admission that the vision was scaring him was also a powerful scene. One other thing I liked from this episode was the inclusion of the old pre-Byrne comic book origin. Superman was born on Krypton and sent here as an infant and not birthed in a chamber on the way to Earth. Clark said he felt love and sadness from his parents which is another change from the sterile, un-loving Krypton Byrne made. In all I thought this episode made good use of the supernatural, especially the way it scared Clark over his powerlessness. ________________________________________________________ Episode #3-14: "Tempus, Anyone?" -------------------------------- by Leigh Raglan (leigh4ck@aol.com) US Airdate: January 21, 1996 Guest Starring: Lane Davies (Tempus) Hamilton Camp (H.G. Wells) Emily Proctor (Lana Lang) Lee Arenberg (Major Domo) Eric Stuart as the rookie cop Lee Spencer as the bank guard Elizabeth Maynard as the woman Written by: John McNamara Directed by: Winrich Kolbe THE PLOT Lois is taken hostage at gunpoint by Tempus, whom she doesn't remember, and transported to an alternate Metropolis. Left alone in a cemetery, she is alarmed to find herself at her own grave site. H. G. Wells approaches and reassures her that it was an alternate Lois who died. He then recounts their last adventure together in "Tempus Fugitive", restoring Lois' memory of all those events. Wells says they need to find Tempus' machine so they can transport him and themselves back to their own world. It becomes apparent they will need the help of Superman to achieve their goals. The Metropolis of the alternate world is like a wild, wild West town -- people tote guns of every size and description, there are holdups and drive-by shootings. Perry White is still editor-in-chief at the Daily Planet, however he is also running for Mayor. His opponent is Tempus! Perry is delighted to see Lois is alive and warmly welcomes her back. He introduces her to the new owner of the Planet, James Olsen, who achieved his financial success with computers. "Mister" Olsen and the paper are backing Perry's campaign. Lois greets the alternate Clark with a passionate loving kiss. However, he doesn't know her -- or Superman! He is engaged to Lana Lang, who is domineering and manipulative. She tries to run Clark's life like clockwork. In private, she reprimands him for surreptitiously using his powers again. She warns he could wind up in some lab where they would study him, then he would never have a life. "No one will ever love you more than I do, or understand you better." She tells him to promise not to use his powers again. He artfully avoids agreeing. Lois and Wells meet Clark privately. His worst nightmare comes true when she begins rattling off everything she knows about him -- how he was found, all about his super abilities. They reassure him they are not from the government. What stuns Clark the most, however, is the thought that an alternate Clark is flying about wearing tights. When Lois explains Martha made the costume he says, "But the Kents died when I was ten." He says he bounced around after they died, however it was a long time ago; he's fine now. Lois and Wells are taken hostage by Tempus. Lois, bound and blindfolded, finds herself in a perilous position on a crumbling ledge high atop a building. Wells is tied to a chair in a room where he and Tempus watch her on monitors. Tempus is gleeful about terrifying her. He is curious to see what will happen to Lois in a world without Superman. He speculates that Clark falling in love with a woman who constantly put herself into perilous situations contributed to his creation of Superman. When the final piece of the ledge crumbles, Lois screams, "Clark!" He saves her at the final moment, while Tempus' men capture on video Clark flying in his civvies and glasses with Lois in his arms. Clark and Lois return to his apartment with shopping bags of fabric and a blue ski suit which Lois suggests Clark wear as a secret identity. He is unconvinced. While he does what he can to help, he wants to have a normal life. He doesn't wish to be a super hero. A picture of Superman amuses him. He is surprised by a photo of Clark and Lois together, noticing her engagement ring for the first time. "Is this us?" A picture of Clark with his parents stuns him. He explains his own parents had been killed in a car accident when he was ten. He tried to save them -- he was fast even then, just not fast enough. He is not convinced one man can make a difference. Lois convinces him otherwise. When Clark models the costume Lois made for him, Tempus, who is watching on a monitor, is elated she is creating Superman. Wells realizes this is precisely what Tempus wanted to happen. Because Clark is rather uncertain, Lois suggests they go out on a trial run. Carrying Lois in his arms, they fly about Metropolis. After he stops a burglar, a grateful police officer not only thanks him, but thinks the name "Superman" is "cool." Elated, Clark says, "My whole life I never felt so good about being me." He is also very drawn to Lois. "The feeling that I keep having when I'm around you -- I can't control it." Lana is appalled when Superman explains, "I've decided that the world needs me." She wants things to return to the way they were. It is either Superman or her. Lois receives an anonymous phone call (from Tempus). A bomb has been planted at a TV studio where Tempus and Perry will be debating. When she arrives with Superman, Tempus makes it appear as if Superman brought the bomb. To counterattack, he produces a chunk of Kryptonite, felling Superman, who drops the bomb. Tempus portrays himself as mankind's savior from a menacing alien here to destroy everyone. He then exposes Superman to the world by airing the footage of Clark saving Lois. Wells notices the bomb is ticking and announces this fact to everyone. When Tempus attempts to flee, Wells punches him out. Lois throws the Kryptonite as far from Superman as she can. Though quite weak, he pops the bomb in his mouth. When it explodes, he passes out and isn't breathing! After a few long moments, he begins coughing. Clark receives a warm welcome from everyone. Back at the Daily Planet after Perry wins the election, Superman tells Lois that he wishes he was half as upset about losing Lana as he is about losing her. He urges her to stay. She can't. He isn't sure how to be Superman. He needs her. Lois reminds him that her own Clark needs her. She has to go. He asks, "Does he know what he has?" "We both do." "We *all* do," Clark says very sadly. Wells has sent Tempus back into the arms of the police in the original Metropolis and has returned to fetch Lois. He tells Superman he holds the world in his hands and is giving "a once hopeless world" a new future. Clark is still not sure he is up to the task. When he goes outside the Planet wearing his new costume to be introduced to the cheering mob of people as Clark Kent, a.k.a. Superman, he can't take his eyes off Lois. He watches unhappily until she disappears. Lois tells Wells she wishes this Clark "didn't have to be alone." He responds, "The hardest lesson to learn is that love can be so fair to some and so cruel to others -- even those who would be gods." The moment Lois arrives back in her own world, she is joyfully reunited with a very relieved Superman, who had been frantically searching everywhere for her. He says that for ten terrible seconds he experienced what his life would be like to be without her. OPINION: "Tempus, Anyone?" is just terrific. Again, Tempus is an excellent villain. The absolute cold bloodedness of his eating popcorn nonchalantly while watching Lois face death is pure evil -- and pure delight to watch. Dean Cain really deserves special accolades for his amazing portrayal of the alternate Clark. I just loved this character. After having played the role for two-and-a-half years, Cain managed to make this Clark familiar, yet more subdued, quieter, somewhat melancholy and even a bit cynical -- distinctly different from our Clark, though just as endearing. Seeing the alternate James Olsen was quite amusing. Justin Whalin did a great job. In his suits with his slicked down hair, he looked and behaved quite differently from our Jimmy. The portrayal of Lana Lang as being manipulative and somewhat shrewish was a bit jarring to anyone familiar with the character. Yet her bossiness is what made the story work because we could not believe Clark could find happiness being married to her. Although he probably knew Lana wasn't right for him -- judging from the way he would not promise her he would not use his powers -- without her he would have been completely alone. Based on the one photo Lois saw of them, Clark and Lana did appear to have had some happy times together. To her credit, Lana did love Clark, knowing he was a superpowered alien, even if she did not want him to use those powers. There were quite a few nice parallels to the Pilot, from the creation of the Superman costume to his first superdeed of swallowing a bomb. Lana's commentary about Clark winding up in a lab mirrored Jonathan's similar fears. The episode also allowed us to see how influential Martha and Jonathan have been in Clark's life by providing us with a glimpse of what his life might have been like had he grown up without their love and support. It also demonstrated how strong the bond between Lois and Clark is -- it actually transcends both time and space. By the end of "Tempus, Anyone?", Clark and Lois seemed destined to be together -- soul mates in any dimension. Clark Kent's biggest fear has always been what would happen if everyone learned he was Superman. He has always thought this knowledge made public would put everyone he cares about in jeopardy. Villains would use his friends and family to get to him. In the Pilot, Clark created Superman (with Martha's help) after giving considerable thought about having some sort of disguise to wear which might eliminate his need to worry about people finding out about him. He was confident his costume would work because, "It won't be me." In "Tempus, Anyone?" we have the unique situation of Lois being the one who creates Superman while Clark has strong doubts about the disguise working. While our Clark had decided wearing a costume would allow him to lead a normal life, the alternate Clark had to be talked into wearing the suit by Lois. By the end of the episode, the Superman costume has become his uniform, rather than a disguise. Amusingly, the alternate Clark can never quite believe people would not have recognized him just because he wasn't wearing his glasses. His distress at being exposed is minimal; it is as if he knew it was bound to happen. Thus, what has always been Clark's biggest nightmare -- being exposed to the world -- was handled expertly in a way which also absolved Lois of any blame. Not only was the alternate Clark now surrounded by adoring fans and friends like Perry and James Olsen, he could openly be both himself, Clark Kent a.k.a. Superman, without the burden of trying to be two people. It would appear the alternate Clark would suffer no worse a fate than movie stars, for example, in terms of now being a famous celebrity except, of course, he would never need a bodyguard. The episode was not without some flaws or continuity glitches. The most glaring was just how Tempus, who had been presented in "Tempus Fugitive" as being completely inept with anything mechanical, not only created his own time travel machine *without* a set of blueprints, but created a more sophisticated device capable of taking him to parallel universes. While I wished for a happier romantic ending for the alternate Clark (I do hope the writers will return to him in some future episode as I would like to see how he fares), the sad ending linked strongly with our Clark's emotions over losing Lois for the longest ten seconds of his life. It was as if, for a brief moment, our Clark was in the alternate Clark's shoes, watching Lois leaving him and finding himself possibly all alone -- forever. ________________________________________________________ COMING ATTRACTIONS ------------------ A List of Upcoming Comics Featuring The Superman Family of Characters Assembled by Jeffery D. Sykes This monthly section is dedicated to giving you official information concerning which comics you should watch for in the near future in order to keep up with Superman, Superboy, Supergirl, and all the rest of the Superman family of characters. The information which follows is reprinted without permission from Diamond Previews and is in no way meant to serve as a replacement for that magazine. I strongly recommend that each reader find his or her own copy for additional detailed information on the entire DC Universe! Note that Diamond is the exclusive distributor of DC Comics! NOTES --------------- Okay now, everybody keep count with me! First we've got the four issues of THE FINAL NIGHT, the miniseries bringing us DC's annual EVENT, in which the heroes try to save the world after the sun is blown out. Pivotal to the story is PARALLAX: EMERALD NIGHT. See our feature article for more details... Each of the four Superman titles ties in with THE FINAL NIGHT, as do September's issues of SUPERBOY and SUPERGIRL. Also, Superman pays a visit to Fawcett City during the crisis in POWER OF SHAZAM! #20. Each of these stories deals with events related to the loss of the sun. (And now we're up to 12 books already!) Not tying in to the event, SHOWCASE spotlights Bibbo Bibbowski and his attempts to prevent a suicide, STEEL continues to be tested relentlessly after revealing his identity, and SUPERBOY & THE RAVERS find their way to the planet Rann. JUSTICE LEAGUE: A MIDSUMMER'S NIGHTMARE wraps up, leading to the new Justice League series this fall. (Still with me!?) Kurt Busiek (best known for MARVELS and ASTRO CITY), Paul Ryan (new penciller for MAN OF TOMORROW), and Josef Rubinstein (inker of SUPERMAN) bring us the final Superman annual of the year with SUPERMAN: THE MAN OF STEEL ANNUAL #8, featuring another "Legend of the Dead Earth." And last, but certainly not least, with the debut of SUPERMAN, the new Warner Brothers animated series, comes the debut of SUPERMAN ADVENTURES! So what have we got? 18 titles for the month of September! DC's (and please pardon the use of this word choice) onslaught of the Superman fans' wallets continues... ------------------------------------------------------------------------------- LIST OF TITLES BY EXPECTED ARRIVAL DATE --------------------------------------------- Arrival Date: Comic title and information: ------------ --------------------------- July 3: Justice League: A Midsummer's Nightmare #1 (of 3) Written by Mark Waid and Fabian Nicieza Art by Jeff Johnson, Darrick Robertson, Jon Holdredge, and Hanibal Rodriguez Cover by Kevin Maguire and John Dell 48 pgs, $2.95 Showcase '96 #8 Superman and Superboy Written by Karl Kesel Art by Tom Grummett and Josef Rubinstein Supergirl Written by Peter David Art by Terry Dodson and Karl Story Cover by Tom Grummett and Doug Hazlewood 48 pgs, $2.95 Steel #30 Written by Louise Simonson Art by Phil Gosier and Rich Faber Cover by Howard Porter $1.95 Superman #115 Written by Dan Jurgens Art and Cover by Ron Frenz and Josef Rubinstein $1.95 July 10: Adventures of Superman #538 Written by Karl Kesel Art and Cover by Stuart Immonen and Jose Marzan, Jr. $1.95 Kingdom Come #3 (of 4) Written by Mark Waid Painted Art and Cover by Alex Ross 48 pgs, Prestige Format, $4.95 Supergirl #1 Written by Peter David Art and Cover by Gary Frank and Cam Smith $1.95 July 17: Action Comics #725 Written by David Michelinie Art by Tom Morgan and Denis Rodier Cover by Tom Grummett and Denis Rodier $1.95 Superboy #31 Written by Eddie Berganza Art by Kris Renkewitz and Brad Vancata Cover by Tom Grummett and Karl Kesel $1.95 July 24: Superboy & The Ravers #1 Written by Karl Kesel and Steve Mattsson Art and Cover by Paul Pelletier and Dan Davis $1.95 Superman: The Man of Steel #60 Written by Louise Simonson Art and Cover by Jon Bogdanove and Dennis Janke $1.95 July 31: Alpha Centurion Special #1 Written by Barbara Kesel and Stuart Immonen Art by Dean Zachary and Wade von Grawbadger Cover by Stuart Immonen and Wade von Grawbadger 48 pgs, $2.95 Eradicator #2 (of 3) Written by Ivan Velez, Jr. Art and Cover by Roger Robinson and John Lowe $1.75 Superman #116 Written by Dan Jurgens Art and Cover by Ron Frenz and Josef Rubinstein $1.95 August 7: Action Comics Annual #8 Written by David Michelinie Art by Kieron Dwyer Cover by Jerry Ordway 48 pgs, $2.95 Justice League: A Midsummer's Nightmare #2 (of 3) Written by Mark Waid and Fabian Nicieza Pencilled by Jeff Johnson and Darick Robertson Inked by Jon Holdredge and Hanibal Rodriguez Cover by Kevin Maguire and John Dell 48 pgs, $2.95 Showcase 96 #9 Lady Shiva and Shadowdragon Written by Joan Weis Pencils by Kevin West Inks by Keith Champagne Cover by Ron Frenz and Brett Breeding 48 pgs, $2.95 Steel #31 Written by Louise Simonson Art and Cover by Phil Gosier and Rich Faber $1.95 Superman: The Man of Tomorrow #6 Written by Roger Stern Art by Paul Ryan and Brett Breeding Cover by Tom Grummett and Brett Breeding $1.95 August 14: Adventures of Superman #539 Written by Karl Kesel and Jerry Ordway Art by Ron Lim and Klaus Janson Cover by Stuart Immonen and Jose Marzan Jr $1.95 Detention Comics #1 Superboy story: Written by Ron Marz Art by Ron Lim and Andrew Hennessy Cover by Joe Phillips 64 pgs, $3.50 Kingdom Come #4 (of 4) Written by Mark Waid Painted Art and Cover by Alex Ross 48 pgs, Prestige Format, $4.95 Supergirl #2 Written by Peter David Art and Cover by Gary Frank and Cam Smith $1.95 August 21: Action Comics #726 Written by David Michelinie Art by Tom Morgan and Denis Rodier Cover by Tom Grummett and Denis Rodier $1.95 Superboy #32 Written by Ron Marz Art and Cover by Ramon Bernado and Doug Hazlewood $1.95 August 28: Eradicator #3 (of 3) Written by Ivan Velez Jr Art and Cover by Roger Robinson and John Lowe $1.75 Legion of Super-Heroes #85 (Superman) Written by Tom Peyer and Tom McCraw Art by Lee Moder and Ron Boyd Cover by Alan Davis and Mark Farmer $2.25 Superboy & The Ravers #2 Written by Karl Kesel and Steve Mattsson Art and Cover by Paul Pelletier and Dan Davis $1.95 Superman: The Man of Steel #61 Written by Louise Simonson Art and Cover by Jon Bogdanove and Dennis Janke $1.95 September 5: The Final Night #1 (of 4) Written by Karl Kesel Art and Cover by Stuart Immonen and Jose Marzan Jr $1.95 The Power of Shazam! #20 (Superman) Written by Jerry Ordway Art by Peter Krause and Mike Manley Painted Cover by Jerry Ordway $1.75 Showcase '96 #10 Bibbo Written by Paul Castiglia Art by Denis Rodier Cover by Denis Rodier 48 pgs, $2.95 Steel #32 Written by Darren Vincenzo Pencilled by Roger Robinson Cover by Phil Gosier and Rich Faber $1.95 Superman #117 Written by Dan Jurgens Art and Cover by Ron Frenz and Josef Rubinstein $1.95 Superman Adventures #1 Written by Paul Dini Art by Rick Burchett and Terry Austin Cover by Bruce Timm $1.75 September 11: Adventures of Superman #540 Written by Karl Kesel and Jerry Ordway Art by Terry Dodson and Karl Story Cover by Stuart Immonen and Jose Marzan Jr $1.95 The Final Night #2 (of 4) Written by Karl Kesel Art and Cover by Stuart Immonen and Jose Marzan Jr $1.95 Justice League: A Midsummer's Nightmare #3 (of 3) Written by Mark Waid and Fabian Nicieza Art by Jeff Johnson, Darrick Robertson, Jon Holdredge, and Hanibal Rodriguez Cover by Kevin Maguire and John Dell 48 pgs, $2.95 Supergirl #3 Written by Peter David Art and Cover by Gary Frank and Cam Smith $1.95 Superman: The Man of Steel Annual #5 Written by Kurt Busiek Art by Paul Ryan and Josef Rubinstein Cover by Jerry Ordway 48 pgs, $2.95 September 18: Action Comics #727 Written by David Michelinie Art by Tom Morgan and Denis Rodier Cover by Tom Grummett and Denis Rodier $1.95 The Final Night #3 (of 4) Written by Karl Kesel Art and Cover by Stuart Immonen and Jose Marzan Jr $1.95 Parallax: Emerald Night #1 Written by Ron Marz Art and Cover by Mike McKone and Mark McKenna 48 pgs, $2.95 Superboy #33 Written by Ron Marz Art and Cover by Ramon Bernado and Doug Hazlewood $1.95 September 25: The Final Night #4 (of 4) Written by Karl Kesel Art and Cover by Stuart Immonen and Jose Marzan Jr $1.95 Superboy & The Ravers #3 Written by Karl Kesel and Steve Mattsson Art and Cover by Paul Pelletier and Dan Davis $1.95 Superman: The Man of Steel #62 Written by Louise Simonson Art and Cover by Jon Bogdanove and Dennis Janke $1.95 ------------------------------------------------------------------------------- SPOILERS ------------------ September 5: ----------- The Final Night #1 (of 4) Superman and the Legion of Super-Heroes encounter an alien who crash-lands on Earth to warn it of impending doom! An unstoppable force that feeds off the stars themselves has entered the solar system! And try as they might, Earth's heroes fail utterly to prevent the total blowout of the sun, spelling certain doom for their world ... and all that inhabit it! The Power of Shazam! #20 Superman guest-stars! One city still shines in the darkness of THE FINAL NIGHT -- Fawcett City -- but only if the light-bringing, life-giving magic spell of the wizard Shazam will hold out! Unfortunately, it's also the painful duty of Captain Marvel and the Man of Steel to keep desperate, panic-stricken mobs from flooding an already overcrowded Fawcett City as the world around it grows colder. Showcase '96 #10 Bibbo tries to stop a man from jumping off a bridge by telling him stories of how he defeated some of DC's deadliest villains! According to Bibbo, he's taken on the Joker, the Cheetah, Major Force, and even Doomsday -- but the only way to really prove his heroism is to stop the jumper ... who doesn't believe a word of Bibbo's tall tales. The Legion's Ultra Boy (trapped in the 20th Century) draws the focus in one of the issue's backup stories, while Captain Comet is featured in the other. Steel #32 When the super-intelligent, hulking Blockbuster sets his sights on Washington, there's one obstacle he must first eliminate -- Steel. But after all he's been through, there's no way Steel's going to let his city fall. Superman #117 As the bitter cold and darkness of THE FINAL NIGHT descends, Superman is forced to battle his own Antarctic refuge as the robots within the Fortress of Solitude fail to recognize him as a Kryptonian, perceiving him instead to be an interloper! Superman Adventures #1 Following the success of their first DC cartoon, the creators of BATMAN: THE ANIMATED SERIES send Superman rocketing over the airwaves in a new series slated for Fall 1996 on the WB television network. As before, DC offers an all-new ongoing comic book based upon the animated show! SUPERMAN ADVENTURES packs all the storytelling excellence, action, fun, and excitement that's made THE BATMAN AND ROBIN ADVENTURES a critically acclaimed favorite. Illustrated by Rick Burchett and Terry Austin, issue #1 is written by Warner Bros. Animation producer/writer Paul Dini, with subsequent issues written by acclaimed ZOT! creator and UNDERSTANDING COMICS author Scott McCloud. Issue #1 also features a wraparound cover by Warner Bros. animator/producer Bruce Timm, with a metallic fifth color ink. September 11: ------------ Adventures of Superman #540 As THE FINAL NIGHT continues, guest-star Ferro of the Legion of Super- Heroes is spotlighted in a story that explores his tragic past while Metropolis is engulfed in a blizzard. The Final Night #2 (of 4) With the sun blown out, worldwide death seems certain unless Earth's heroes can devise a solution. But their efforts may do nothing more than delay the inevitable as the darkened world grows colder ... and colder. Justice League: A Midsummer's Nightmare #3 (of 3) The Know-Man's plot is revealed, and if carried out it will grant every person on Earth power beyond their imagining. Only Dr. Destiny holds the key to releasing the world from a carefully-crafted dream reality, and even the Justice League may be powerless to stop worldwide chaos. Supergirl #3 The sun has blown out in THE FINAL NIGHT, and as Supergirl battles the elements in her newly adopted town, Leesburg's residents are transformed into twisted, dark versions of themselves. It's the work of Grodd, one of the Flash's most frightening adversaries -- who possesses an artifact with magical powers that thrive during a solar eclipse. Faced with the end of the world, Grodd is determined to die as ruler of a new twisted kingdom, even if it means transforming the Girl of Steel! Superman: The Man of Steel Annual #5 The "Legends of the Dead Earth" Annuals continue with a story by Kurt Busiek (ASTRO CITY, MARVELS): In the distant future, a stellar empire suppresses all knowledge of the long-lost motherworld, Earth. An armored cadre of warriors known as the "Imperial Supermen" sweep across planet after planet, dashing any hope of returning to an "age of super-heroes." But a young rebel has other ideas, leading to a final clash with Emperor Alexander the 60th. September 18: ------------ Action Comics #727 Metropolis struggles against the brutal weather wrought by the blowout of the sun in THE FINAL NIGHT as Superman and the SCU battle the returning SimmBots in Centennial Park. The Final Night #3 (of 4) With Earth's demise mere hours away, the heroes struggle to give hope to the darkened, freezing world. Faced with certain death, people are driven to riot, murder, suicide, confess love, even reconcile with enemies as the inevitable approaches. Parallax: Emerald Night #1 This is it! This pivotal tie-in to THE FINAL NIGHT is the long-awaited story in which Hal Jordan confronts his past, present, and future! Writer Ron Marz (GREEN LANTERN, DC VERSUS MARVEL) and artists Mike McKone and Mark McKenna (the team from Image's SPARTAN) create a moving tale that re-examines the forces driving Parallax, from a cosmic battle at the ends of the universe with the evil Cyborg, to the now-darkened and dying world of Earth, where Hal at last makes his peace with those he left behind. Superboy #33 In the wake of the sun's demise during THE FINAL NIGHT, desperate people flee to Hawaii for warmth as the island begins to shake itself apart with sudden volcanic activity. September 25: ------------ The Final Night #4 (of 4) The incredible conclusion! Earth's heroes may have found a way to save the world, but it requires a supreme sacrifice ... and only one hero can make it work. Whatever the outcome, this issue will shock and rock the DC Universe! Superboy & The Ravers #3 The intergalactic chase continues as the team gets teleported to the planet Rann, where they're caught up in a search for a missing -- but very powerful -- child. Plus, a new member joins -- the ectoplasmic, living-dead teenager, Half-Life. Superman: The Man of Steel #62 Follow both Superman's struggle to save Earth from THE FINAL NIGHT even as his power fades without sunlight to feed it ... and also Jor-El's tragic failed attempt to save his own world of Krypton. ________________________________________________________ End of Section 10/Issue #27