Incredible Hulk Marvel Masterworks volume 5


By Stan Lee, Roy Thomas, Herb Trimpe & various (Marvel)
ISBN: 978-0-7851-3491-6 (HB)

As the 1960s drew to a socially-divisive close, the Incredible Hulk was settling into a comfortable niche and enjoyable formula as tragic nuclear scientist Bruce Banner wandered America and the world, seeking cures for his self-inflicted gamma-transformative curse, alternately aided or hunted by prospective father-in-law US General “Thunderbolt” Ross and a variety of guest-star heroes and villains.

Writer Stan Lee was gradually distancing himself from the creative chair as he became Marvel’s publisher, and neophyte artist Herb Trimpe was increasingly making the character his own with the “standard-received” Jack Kirby-originated house art-style quickly evolving into startlingly abstract mannerism, augmented by an unmatched facility for drawing technology… especially honking great ordnance and vehicles.

And of course, as comics readers increasingly turned to monsters and supernatural themes, no one could deny the cathartic reader-release of a mighty big “Hulk Smash” moment…

This chronologically accurate hardback and eBook compendium contains Incredible Hulk #111-121, spanning January-November 1969 and opens after a charmingly self-deprecating Introduction from Trimpe.

Then it’s on to the bombastic action, as a shocking cliffhanger from the previous volume is resolved…

Umbu the Unliving was yet another extraterrestrial device left to facilitate Earth’s demise, but Banner and his green alter-ego had destroyed it with the assistance of Savage Land jungle lord Ka-Zar, albeit at the cost of Banner’s life. Now its makers come looking for the saboteurs at the behest of their tyrannical cosmic overlord, Galaxy Master in ‘Shanghaied in Space!’ (by Lee, Trimpe & Dan Adkins), using their arcane technologies to reanimate Banner’s corpse so they have a scapegoat to hand to their demonic boss…

Transported to the heart of the evil empire, ‘The Brute Battles On!’, eventually destroying the inimical energy being and sparking a revolution before being rocketed back to Earth by a grateful alien princess…

Issue #113 finds the recently returned Hulk brutally battling an upgraded Sandman in ‘Where Fall the Shifting Sands!’, before the sinister silicon villain pops right back a month later beside the Mandarin in #114’s ‘At Last I Will Have My Revenge!’; two fast-paced power-packed yarns to whet jaded (sorry, puns are my kryptonite!) appetites for the extended return of the Jade Giant’s greatest foe.

‘The Leader Lives!’ opens with the man-monster a prisoner of the US Army, when the long-believed-dead gamma genius – as smart as the Hulk is strong – taking control of the base for his own nefarious purposes.

The Eve of… Annihilation!’ reveals the Leader’s atomic Armageddon plans for our pitiful planet even as the indomitable Hulk escapes a seemingly perfect prison with the aid of the always-unpredictable Betty Ross before the saga explosively concludes in countdown-clock thriller ‘World’s End?’, notable not just for its cataclysmic dramatic conclusion, but also for Trimpe taking over the inking of his own pencils.

Incredible Hulk #118 (August 1969) depicts a duplicitous courtier at the Sub-Mariner’s sunken citadel orchestrating ‘A Clash of Titans’ (as related by Stan Lee and Trimpe) after which the green Goliath stumbles into a South American secretly country conquered by and ‘At the Mercy of… Maximus the Mad’: a two-part tale that concludes with the Roy Thomas scripted ‘On the Side of… the Evil Inhumans!’

This all-out action extravaganza sees the Hulk also fighting the Costa Salvador army, the ubiquitous moustachioed rebels, General Ross’ specialist US army forces and even a giant hypnotic robot before giving way to a moodier menace as Ol’ Greenskin returns to North America…

Wrapping up this tome is a soggy interlude in Florida where the man-monster learns ‘Within the Swamp, There Stirs… a Glob!’

Designed as tribute in equal parts to Theodore Sturgeon’s “It” and the Hillman Comics Character The Heap – who slopped his way through the back of Airboy Comics in the early 1950s – this muck-encrusted monstrosity predates both DC’s Swamp Thing and Marvel’s own Man-Thing in a tale of woeful tragedy and unrequited love when the remains of a long-dead escaped convict are accidentally irradiated and take on a shambling semblance of life.

Surely it’s just bad luck that Betty and the Hulk are in its misanthropic path?

Adding even more lustre and appeal to this tome are the cover to Incredible Hulk Annual #2 and Marie Severin’s colour-guide to #119’s cover.

This titanic tome of Hulk heroics offers visceral thrillers and chaotic clashes overflowing with dynamism, enthusiasm and sheer quality: full-on, butt-kicking, “breaking-stuff” yarns to enthral and delight the destructive eight-year-old in everyone. Just remember to read, not do…
© 1969, 2007, 2018 Marvel Characters, Inc. All rights reserved.

All Star Superman


By Grant Morrison & Frank Quitely with Jamie Grant (DC Comics)
ISBN: 978-1-4012-3205-4

Happy Anniversary, Man of Tomorrow… and here’s to many more.

When dwindling sales and economic realities forced comics down certain editorial paths, the US mainstream went for darker tales and grittier heroes. Meeting a certain degree of success, a policy of following trends became mandatory.

Ninjas, cyborgs, younger incarnations – all the old heroes put on new clothes as fashion dictated, abandoning their own mythologies whenever it seemed most expedient. The saddest thing is that sales in the long run kept falling anyway, and by recanting all the appurtenances of a long-lived character, they removed points of reference for any older readers who might contemplate a return.

So bravo to those companies that have repackaged their notionally “unfashionable” classics for the nostalgia market, and especially for those editors that have resisted slavish continuity as the only option and opened up key characters to broader interpretation.

When I was a nipper, Superman had outlandish adventures and was still a decent bloke.

His head might occasionally be replaced by a lion’s or an ant’s and he loved playing jokes on his friends a bit too much, but he was still one of us. His exploits were routinely mind-boggling, but he kept a quiet, down-to-Earth dignity about him. He only shouted to shatter concrete, and not to bully villains. He was okay and he was quintessentially cool.

…And in All-Star Superman he was again. Grant Morrison & Frank Quitely (aided and abetted by the digital wizardry of inker/colourist Jamie Grant) crafted a delightful evocation of those simpler, gentler times with a carefully stage-managed guided tour of the past, redolent with classic mile-markers.

Superman was the world’s boy scout, Lois Lane spent her days trying to prove Clark Kent is the Man of Steel, Jimmy Olsen was a competent young reporter dating Lois’ sister Lucy and all of time and space knew they could always rely on the Metropolis Marvel.

A 12-part miniseries running from January 2006 to October 2008, All-Star Superman celebrated those good old days in a most subversive manner beginning with ‘…Faster…’ as the Man of Steel saves a solar astronaut but only at an incredible, fatal cost to himself.

As a result, the Action Ace has to make some major changes in his life, beginning by satisfying Lois’ greatest desire…

In #2 and 3 (February and May 2006), ‘Superman’s Forbidden Room’ and ‘Sweet Dreams, Superwoman’, Lois takes centre stage as a devilish plot to kill Superman forces the hero to acknowledge his feelings for her. The result is an astonishing trip to his Fortress of Solitude and a hyper-empowering birthday gift she will never forget…

The hero’s best pal hits the headlines next as ‘The Superman/Olsen War’ finds the plucky cub-reporter undergoing the most shocking – and potentially lethal – transformation of his strange career, after which ‘The Gospel According to Lex Luthor’ (A-SS #5, September 2006) finds unrepentant Lex Luthor on Death Row and granting Clark Kent the interview of his career and scoop of a lifetime…

Superman is dying. Clandestinely poisoned by Lex and the Tyrant Sun Solaris, the Man of Tomorrow must make bold preparations and rush desperately to finish a shopping list of impossible tasks before his inevitable end. The gallant defender is aware that the precious Earth and his greatest friends must be kept safe and happy, even after his demise…

The quest kicks into high gear after a time-bending and portentously eventful ‘Funeral in Smallville’ (#6, March 2007); leading to a brutal clash with his imperfect duplicate in ‘Being Bizarro’ (#7, June) and one last visit to the square planet htraE in ‘Us Do Opposite’ (#8, August)…

The end is fast-approaching in All-Star Superman #9 (December 2007) as ‘Curse of the Replacement Supermen’ finds the Man of Steel facing two Kryptonian emigres attempting to turn Earth into a facsimile of their lost world. ‘Neverending’ (#10, May 2008) rapidly follows our rapidly declining hero on a nonstop junket to save lives before his own concludes…

The tension ramps up for penultimate episode ‘Red Sun Day’ (July) as Luthor, having turned his execution to his own advantage, attacks with all his carefully-gathered allies, before the conclusion ‘Superman in Excelsis’ reveals the perished Man of Steel’s greatest moment and most poignant triumph…

Completing the experience are commentary, character analysis, sketches and designs by Morrison & Quitely plus a full cover gallery from Quitely and a variant cover by Neal Adams.

Don’t believe this is just a pastiche of past glories. Kids of all ages are better informed than we were, and there’s a strong narrative thread and sharp, witty dialogue, backed up by the best 21st century technobabble to keep our attention and ensure that even the worldliest young cynic feels a rush of mind-expanding, goose-bump awe…

Although a plot to kill Superman carries this tale along there is human drama and tension aplenty to season the wonderment. Revisiting such unforgettable Silver Age motifs as the Planet of the Bizarros, being replaced by (even) more competent Kryptonians, liberating the citizens of the Bottle City of Kandor and all those cataclysmic battles with Luthor, not to mention curing cancer and the last Will and Testament of Superman, these gently thrilling glimpses of finer, gentler worlds shine with charm and Sense-of-Wonder, leavened with dark, knowing humour and subtle wistfulness.

…And action. Lots and lots of spectacular, mind-boggling action…

Older readers of the Man of Steel look back on an age of weirdness, mystery, hope and – above all – unparalleled imagination. Morrison and the uniquely stylish Quitely obviously remember them too and must miss them as much as we do.

All-Star Superman: One of the very few superhero collections that literally anybody can – and should – enjoy…
© 2006-2008, 2011 DC Comics. All Rights Reserved.

Superman: The War Years 1938-1945


By Roy Thomas, Jerry Siegel & Joe Shuster with Don Cameron, Mort Weisinger, Fred Ray, Jack Burnley, Wayne Boring, Leo Nowak, Ed Dobrotka, John Sikela, Sam Citron, Ira Yarbrough, George Roussos, Stan Kaye & various (Chartwell Books)
ISBN: 978-0-7858-3282-9

The creation of Superman and his unprecedented adoption by a desperate and joy-starved generation quite literally gave birth to a genre if not an actual art form. Within three years of his debut in the summer of 1938, the intoxicating mix of eye-popping action and social wish-fulfilment which hallmarked the early exploits of the Man of Tomorrow had grown to encompass cops-and-robbers crime-busting, reforming dramas, science fiction, fantasy and even whimsical comedy: all deep and abiding issues for the American public at that time.

However, once the war in Europe and the East snared America’s consciousness, combat themes and patriotic imagery dominated most comicbook covers if not interiors and the Man of Steel was again in the vanguard.

In comicbook terms Superman was master of the world and had already utterly changed the shape of the fledgling industry. There was a popular newspaper strip, a thrice-weekly radio serial, games, toys, foreign and overseas syndication and the Fleischer studio’s astounding animated cartoons.

Thankfully, the quality of the source material was increasing with every four-colour release and the energy and enthusiasm of Jerry Siegel & Joe Shuster informed and infected the burgeoning studio that grew around them to cope with the relentless demand.

Superman was definitely every kid’s hero, and the raw, untutored yet captivating episodes reprinted here were also been completely embraced by the wider public, as comicbooks became a vital tonic for the troops and all the ones they had left behind…

I sometimes think – like many others of my era and inclinations – that superhero comics were never more apt or effective than when whole-heartedly combating global fascism with explosive, improbable excitement courtesy of a myriad of mysterious, masked marvel men.

All the most evocatively visceral moments of the genre seem to come when gaudy gladiators soundly thrashed – and I hope you’ll please forgive the appropriated (but now offensive) contemporary colloquialism – “Nips and Nazis”.

This superb hardcover archive has been curated by comicbook pioneer Roy Thomas, exclusively honing in on the euphoric output of the war years, even though in those long-ago dark days, comics creators were wise enough to offset their tales of espionage and imminent invasion with a barrage of home-grown threats and gentler or even more whimsical four-colour fare…

A past master of WWII era material, Thomas opens this tome with a scene-setting Introduction and prefaces each chapter division with an essay offering tone and context before the four-colour glories commence with Part 1: The Road to War

Following the cover to Action Comics #1, the first Superman story begins.

Most of the early tales were untitled, but for everyone’s convenience have in later years been given descriptive appellations by the editors. Thus, after describing the foundling’s escape from exploding Planet Krypton and explaining his astonishing powers in nine panels, with absolutely no preamble the wonderment begins in ‘Superman, Champion of the Oppressed’ and ‘War in San Monte’ from Action Comics #1 and 2 (June and July 1938 by Jerry Seigel & Joe Shuster) as the costumed crusader – masquerading by day as reporter Clark Kent – began averting numerous tragedies.

As well as saving an innocent woman from the electric chair and delivering rough justice to a wife-beater, the tireless crusader works over racketeer Butch Matson – consequently saving suave and feisty colleague Lois Lane from abduction and worse, since she was attempting to vamp the thug at the time!

The mysterious Man of Steel made a big impression on her by then outing a lobbyist for the armaments industry who was bribing Senators on behalf of greedy munitions interests fomenting war in Europe…

The next breathtaking instalment ‘Revolution in San Monte’ sees the mercurial mystery-man travelling to the actual war-zone and spectacularly shutting down the hostilities already in progress…

Maintaining the combat theme, the cover of Action Comics #10 (March 1939) follows and the cover and first two pages of Superman #1 (Summer 1939): and expanded 2-page origin describing the alien foundling’s escape from Krypton, his childhood with unnamed Earthling foster parents and eventual journey to the big city.

A back-cover ad for the Superman of American club and the October 1939 Action Comics #17 cover precedes Fall 1939’s Superman #2 cover and rousing yarn ‘Superman Champions Universal Peace!’, depicting the dynamic wonder man once more thwarting unscrupulous munitions manufacturers by crushing a gang who had stolen the world’s deadliest poison gas weapon…

After another concise history lesson Part 2: War Comes to Europe re-presents a stunning outreach article. Look Magazine commissioned a legendary special feature by the original creators for their 27th February 1943 issue. ‘How Superman Would End the War’ is a glorious piece of wish-fulfilment which still delights, as the Man of Tomorrow arrested and dragged budding belligerents Hitler and Stalin to a League of Nations court in Geneva.

Accompanied by the March 1940 cover, Action Comics #22 and #23 then declared ‘Europe at War’: a tense and thinly disguised call to arms for the still neutral USA, and a continued story – almost unheard of in those early days of funny-book publishing. Here Lois and Clark’s fact-finding mission (by Siegel, Shuster and inker Paul Cassidy) spectacularly escalated, and after astounding carnage revealed a scientist named Luthor to be behind the international conflict…

The anti-aircraft cover for Superman #7 (November/December 1940) and an ad for the Superman Radio Program precede Siegal, & Wayne Boring & Don Komisarow’s ‘The Sinister Sagdorf’ (Superman #8 January/February 1941). This topical thriller spotlights enemy agents infiltrating American infrastructure whilst ‘The Dukalia Spy Ring’ (Superman #10 May/June 1941) references the 1936 Olympics and sees the Action Ace trounce thinly-veiled Nazis at an international sports festival and expose vicious foreign propaganda: themes regarded as fanciful suspense and paranoia as America was still at this time still officially neutral in the “European War.”

Behind Fred Ray’s Armed services cover for Superman #12 (September/October 1941, ‘Peril on Pogo Island’ (Siegel, Shuster & Leo Nowak) finds Lois and Clark at the mercy of rampaging tribesmen, although spies from a certain foreign power are at the back of it all after which a Fred Ray gallery of covers – Action Comics #43 (December 1941), Superman #13 (November/December 1941), Action Comics #44 (January 1942) and Superman #14 (January/February 1942) – closes the chapter.

All of these were prepared long before December 7th changed the face and nature of the conflict…

After Japan’s sneak attack on Pearl Harbor everything changed and Part 3: America Goes to War reflects the move to a war footing, beginning with the infamous Siegel & Boring ‘Superman Daily Strips’ from January/February 1942, wherein an overeager Clark Kent tries too hard to enlist and only succeeds in getting himself declared 4F (unfit to fight)…

Timeless Ray patriotic masterpieces from Superman #17 (July/August 1942) and Superman #18 (September/October 1942) precede a stirring yarn from the latter. ‘The Conquest of a City’ (Siegel & John Sikela) sees Nazi agents use a civil defence drill to infiltrate the National Guard and conquer Metropolis in the Fuehrer’s name… until Superman spearheads the counter-attack…

The other great patriotic cover master was Hardin “Jack” Burnley and a quartet of his very best follow – Action Comics #54 (November 1942), Action Comics #55 (December 1942), World’s Finest Comics #8 (Winter 1942 and with Batman and Robin thrown in for good measure) and Superman #20 (January/February 1943).

That last also provides ‘Destroyers from the Depths’ wherein Hitler himself orders dastardly Herr Fange to unleash an armada of marine monstrosities on Allied shipping and coastal towns. Of course, they prove no match for the mighty Man of Steel,

After Burnley’s Action Comics #58 cover (March 1943), Siegel, Ed Dobrotka & Sikela detail the saga of ‘X-Alloy’ from Superman #21 (March/April 1943) as a secret army of Nazi infiltrators and fifth columnists steal American industrial secrets and would have conquered the nation from within if not for the ever-vigilant Man of Steel…

Sikela’s cover Action Comics #59 (April 1943) concludes this section as Part 4: In for the Duration discusses the long, hard struggle to crush the Axis. By the time of the tales here the intense apprehension of the early war years had been replaced with eager anticipation as tyranny’s forces were being rolled back on every Front….

Following Burnley’s May 1943 Action Comics #60 cover, Superman #22 May/June 1943 provides Siegel & Sam Citron’s ‘Meet the Squiffles’: a light-hearted yet barbed flight of whimsy wherein Adolf Hitler is approached by the king of a scurrilous band of pixies who offer to sabotage all of America’s mighty weapons. Neither nefarious rogue had factored Superman – or patriotic US gremlins – into their schemes though…

Action Comics #62 (July 1943) and Superman #22 (July/August 1943) are two of Burnley’s very best covers, with the latter fronting an astounding masterpiece of graphic polemic. Don Cameron scripts and Citron illustrates ‘America’s Secret Weapon!’: a rousing paean to American military might as Clark and Lois report on cadet manoeuvres and the Man of Steel becomes an inspiration to the demoralised troops in training…

Covers by Burnley for Action Comics #63 (August 1943) and Superman #24 (September/October 1943) – which latter provides ‘Suicide Voyage’ – follow. This exuberant yarn by Cameron, Dobrotka & George Roussos finds Clark (and pesky stowaway Lois) visiting the Arctic as part of a mission to rescue downed American aviators. Of course, nobody is expecting a secret invasion by combined Nazi and Japanese forces, but Superman and a patriotic polar bear are grateful for the resultant bracing exercise…

‘The Man Superman Refused to Help’ comes from Superman #25 (November/December 1943) and follows Burnley and Stan Kaye’s cover for Action Comics #66 (November 1943). It is a far more considered and thoughtful tale from Siegel, Ira Yarbrough & Roussos exposing the American Nazi Party – dubbed the “101% Americanism Society” – whilst offering a rousing tale of social injustice as an American war hero is wrongly implicated in the fascists’ scheme… until the Man of Steel investigates.

Next up and from the same issue is much reprinted and deservedly lauded patriotic classic.

‘I Sustain the Wings!’ by Mort Weisinger & Fred Ray was created in conjunction with the Army Air Forces Technical Training Command under Major General Walter R. Weaver and designed to boost enlistment in the maintenance services of the military.

In this stirring tale Clark Kent attends a Technical Training Command school as part of the Daily Planet’s attempt to address a shortfall in vital services recruitment – a genuine problem at this time in our real world – but the creators still find and space for our hero to delightfully play cupid to a love-struck kid who really wants to be a hot shot pilot and not a mere “grease monkey”…

Wayne Boring & Roussos’ cover for Superman #26 (January/February 1944) precedes Boring’s ‘Superman Sunday Strips #220-227’ for January – March 1944 with the Metropolis Marvel heading to multiple theatres of War to deliver letters from loved ones on the Home Front after which Roussos’ ‘Public Service Announcement’ (from Superman #28, May 1944) urges everybody to donate waste paper.

July/August 1944’s Wayne Boring cover for Superman #29 find’s Lois greeting the USA’s real Supermen – servicemen all – before Action Comics #76 (September 1944 and Kaye over Boring leads to anonymously-scripted ‘The Rubber Band’ from World’s Finest Comics #15 (Fall 1944).

Illustrated by Sikela & Nowak and concentrating on domestic problems, it details the exploits of a gang of black market tyre thieves who are given a patriotic “heads-up” after Superman dumps their boss on the Pacific front line where US soldiers are fighting and dying for all Americans…

Drawn by Boring, ‘Superman Sunday Strips #280-282’ from March 1945 then rubbish and belittle the last vestiges of the Third Reich as Hitler and his inner circle desperately try to convince the Action Ace to defect to the side that is comprised of Supermen like them…

In Superman #34 (May/June 1945) Cameron, Citron & Roussos attempt to repeat the magic formula of ‘I Sustain the Wings’ with ‘The United States Navy!’ as Clark is despatched to follow three college football heroes whilst they progress – in different maritime specialisations – through the hellish war in the Pacific…

This enthralling sally through Superman’s martial endeavours conclude with one final Thomas-authored article as Part 5: Atoms for Peace? Reveals who the fruits of the top-secret Manhattan Project changed everything…

As fresh and thrilling now as they ever were, these endlessly re-readable epics are perfectly situated in these gloriously luxurious Archive Editions; a worthy, long-lasting vehicle for the greatest and most influential comics stories the art form has ever produced. These Golden Age tales are priceless enjoyment at absurdly affordable prices and in a durable, comfortingly approachable format. What dedicated comics fan could possibly resist them?
™ & © 2015 DC Comics. All Rights Reserved.

Superman Adventures volume 1


By Paul Dini, Scott McCloud, Rick Burchett, Bret Blevins, Mike Manley & various (DC Comics)
ISBN: 978-1-4012-5867-2

A decade after John Byrne galvanised, reinvigorated and reinvented the look and feel of the Man of Steel animator Bruce Timm returned to comicbook country to meld modern sensibility and classic mythology with Superman: The Animated Series.

With Paul Dini he had designed and overseen Batman: The Animated Series: a 1993 TV show that captivated young and old alike and breathed vibrant new life into an old concept. In 1996 lightning struck a second time. The show was another masterpiece and led to a tranche of sequels and spin-off including The New Batman/Superman Adventures, Justice League and Justice League Unlimited.

Although the Superman cartoon show (which originally aired in the USA from September 6th 1996 to February 12th 2000) never got the airplay it deserved in Britain, it remains a highpoint in the character’s long, long animation history, second only to the astounding and groundbreaking seventeen shorts produced by the Max Fleischer Studio in the 1940s.

These stylish modern visualisations became the norm, extending to the Teen Titans, Legion of Super Heroes, Young Justice and Brave and the Bold animation series that so successfully followed.

The broad stylisation – described as “Ocean Liner Art Deco” – also worked magnificently in static two dimensions for the spin-off comicbook produced by DC as seen in this first of four (so far) trade paperback and eBook compilations, gathering Superman Adventures #1-10 from November 1996 through August 1997.

With no further ado the all-ages action opens with ‘Men of Steel’ by show writer Paul Dini and illustrated with dash and verve by Rick Burchett & Terry Austin. Because they know their audience, the editors wisely treated the animated episodes and comicbook releases as equally canonical and here shady mega-billionaire Lex Luthor is a public hero even whilst clandestinely organising clandestine criminal deals, international coups and a secret war against the Man of Tomorrow.

The devil’s brew of dark deeds culminates here in the oligarch’s creation of a new secret weapon: a hyper-powerful robot-duplicate of Superman, which he uses to initially discredit and ultimately battle against the Caped Kryptonian. If it manages to kill him, Lex will mass-produce them and sell them to warlords around the world…

Comics grand master Scott McCloud comes aboard as regular scripter with the second issue as ‘Be Careful What You Wish For…’ sees the return of Kryptonite-powered cyborg Metallo. The mechanical maniac – like the rest of Metropolis – erroneously believes lonely, attention-seeking Kelly to be Superman’s girlfriend, but his sadistic revenge scheme hasn’t factored in how Lois Lane might react to the claim…

Computerised Kryptonian relic Brainiac resurfaces in ‘Distant Thunder’, having placed its malign consciousness into Earth artefacts (such as robot cats!) before building a new body to facilitate a new attack on the Metropolis Marvel. As ever, Brainiac’s end goal is assimilating data, but Superman quickly realises how to turn that programmed compulsion into a weapon ensuring the computer tyrant’s defeat…

Apprentice photo-journalist Jimmy Olsen’s dreams of success and stardom get a big boost in issue #4’s ‘Eye to Eye’. After Luthor orchestrates a deadly attack on Superman with an enhanced gravity-weapon, the cub reporter learns it’s as much about grit and guts as it is being in the right place at the right time…

Bret Blevins pencils fifth exploit ‘Balance of Power’ as electrical villain Livewire awakes from a coma and sets about equalizing gender inequality by taking over the world’s broadcast airwaves. With all male presences edited out thanks to her galvanic power, the sparky ideologue then returns to her original agenda and attempts to eradicate too-powerful men like Superman and Luthor

McCloud, Burchett & Austin reunite for the astoundingly gripping ‘Seonimod’ wherein Superman utterly fails to save Metropolis from complete annihilation. All is not lost however, as Fifth Dimensional imp Mr. Mxyzptlk has trapped the Man of Steel in a backwards-spiralling time-loop, allowing the hero one last chance to track a concatenation of disasters back to the inconsequential event that triggered the string of accidents which wiped out everything the hero cherishes…

‘All Creatures Great and Small part 1’ opens a titanic two-part tale which sees Kryptonian Phantom Zone villains General Zod and Mala escape the miniaturised prison Superman had incarcerated them in. In the process they also shrink our hero to a few centimetres in height, but the endgame is far more devilish that that.

When scientific savant Professor Hamilton and top cop Dan “Terrible” Turpin join Lois in using a growth ray to restore Superman, Zod intercepts them and transforms himself into a towering colossus of chaos and carnage. Utterly overmatched and without options, the miniscule Man of Tomorrow is forced into the most disgusting and risky manoeuvre of his career to bring the gigantic General low in the concluding ‘All Creatures Great and Small part 2’

Mike Manley pencils Superman Adventures #9 as ‘Return of the Hero’ focuses on an idealistic boy whose two heroes are Superman and Lex Luthor. However, as a series of arson attacks plagues his neighbourhood, Francisco Torres learns some unpleasant truths about the billionaire that shatter his worldview and almost destroy his family. Happily, the Caped Kryptonian proves to be a far more dependable role model…

Wrapping up this first cartoon collection is a classic clash between indomitable hero and deadly maniac as twisted techno-terrorist Toyman returns, peddling Superman action figures designed to plunder and rob their owners’ parents. ‘Don’t Try This at Home!’ by McCloud, Burchett & Austin once again proves that no amount of devious deviltry can long deter the champion of Truth, Justice and the American Way…

Breathtakingly written and spectacularly illustrated, these stripped-down, hyper-charged rollercoaster-romps are pure, irresistible examples of the most primal kind of comics storytelling, capturing the idealised essence of what every superman story should be. This is a compendium every fan of any age and vintage will adore.
© 1996, 1997, 2015 DC Comics. All Rights Reserved.

Superman: The Many Worlds of Krypton


By E. Nelson Bridwell, Denny O’Neil, Cary Bates, Marv Wolfman, Elliot S. Maggin, Paul Kupperberg, John Byrne, Murphy Anderson, Dick Giordano, Gray Morrow, Michael Kaluta, Dave Cockrum, Dick Dillin, Marshall Rogers, Howard Chaykin, Paul Kupperberg, Mike Mignola, Rick Bryant, Carlos Garzon & various (DC Comics)
ISBN: 978-1-4012-7889-2

For fans and comics creators alike, continuity can be a harsh mistress. These days, when maintaining a faux-historical cloak of rational integrity for the made-up worlds we inhabit is paramount, the worst casualty of the semi-regular sweeping changes, rationalisations and reboots is great stories that suddenly “never happened”.

The most painful example of this – for me at least – was the wholesale loss of the entire charm-drenched mythology that had evolved around Superman’s birthworld in the wonder years between 1948 and 1985.

Silver Age readers avidly consuming Superman, Action Comics, Superman’s Girlfriend Lois Lane, World’s Finest Comics and Superman’s Pal Jimmy Olsen (not forgetting Superboy and Adventure Comics) would delight every time some fascinating snippet of information leaked out.

We spent our rainy days filling in the incredible blanks about the lost world through the tantalising and thrilling tales from those halcyon publications. The Fabulous World of Krypton was a long-running back-up feature in Superman during the 1970s, revealing intriguing glimpses from the history of that lost world.

Throughout the decade and into the 1980s – and an issue of giant-sized anthology Superman Family – the feature delivered 27 “Untold Tales of Superman’s Native Planet” (and long overdue for a complete archival collection) by a host of the industry’s greatest talents which further explored that defunct wonderland.

A far-too-small selection of those are re-presented in this beguiling trade paperback and eBook commemoration, taken from Superman #233, 236, 238, 240, 248, 257, 266 and Superman Family #182, to augment a brace of miniseries World of Krypton #1-3 and World of Krypton volume 2 #1-4 (December 1987-March 1988).

These collectively span 1971-1988 and, following scene-setting introduction ‘The World (of Krypton) According to Paul (Kupperberg)’, kick off Chapter 1: Fabulous World of Krypton with E. Nelson Bridwell (who was always the go-to guy for any detail of fact or trivia concerning the company’s vast comics output) & Murphy Anderson’s trendsetting and groundbreaking yarn ‘Jor-El’s Golden Folly’.

Follow-up tales would alternate between glimpses of historical or mythological moments in the development of the Kryptonians and tales of the House of El, such as this astoundingly concise and drama-packed yarn which in seven pages introduces Superman’s father, traces his scholastic graduation and early triumphs in anti-gravity physics and rocketry and reveals how he met his bride-to-be, trainee astronaut Lara Lor-Van.

The story goes on to reveal how she stows away on a test rocket, crashes on the (luckily) habitable moon Wegthor and survives until her infatuated suitor finds a way to rescue her.

This a superb adventure yarn in its own right and, set against what we fans already knew about the doomed planet, augured well what was to follow…

The remaining tales in this section concentrate on non-Jor-El episodes – presumably in lieu of what follows – so the next fable comes from Superman #236 with Green Arrow and Black Canary hearing their Justice League recount the story of ‘The Doomsayer’ (by Denny O’Neil & Dick Giordano). This eco-terror tale reveals how scientist Mo-De detected the mounting tectonic pressures at the planet’s core but was silenced by modern day lotus eaters who didn’t want to hear any unpleasant truths…

In the guise of a Kryptonian kindergarten class story-time, Cary Bates & Gray Morrow devised a hard science creation myth for Superman #238 as ‘A Name is Born’ details how two marooned – and initially mutually antagonistic – aliens crashed on the primeval planet and joined to birth a new race together…

Bates & Michael Kaluta teamed in #240 for a cunning, irony-drenched murder mystery as ‘The Man Who Cheated Time’ details the unexpected consequences of an ambitious scientist who stole from and slaughtered his rivals only to pay for his crimes in a most unexpected manner.

Kryptonian archaeologists unearth a lost moment in planetary history as ‘All in the Mind’ (by Marv Wolfman & Dave Cockrum from #248) discloses how the ancient war between the city states of Erkol and Xan resulted in a generation of mutants. Apparently, if the parents had been more understanding and less intolerant, those super-kids might have saved their forebears from extinction…

Superman #257 (October 1972) offered a timeless instant classic wherein Elliot S. Maggin and illustrators Dick Dillin & Giordano celebrated ‘The Greatest Green Lantern of All’. Here avian GL Tomar-Re reports his tragic failure in preventing Krypton’s detonation, unaware that the Guardians of the Universe had a plan to preserve and use that world’s greatest bloodline – or at least its last son…

Maggin, Dick Dillin & Joe Giella then emphasised a long-hidden connection between Earth and Krypton in #266 as ‘The Face on the Falling Star’ reveals how in eons past two Kryptonian children are saved from doom by a strange device fallen from the sky: a machine sent from a lost civilisation on pre-historic Terra…

Wrapping up this section is ‘The Stranger’ by Paul Kupperberg, Marshall Rogers & Frank Springer and first seen in Superman Family #182: an analogue Christmas fable explaining how four millennia past a holy man named Jo-Mon sacrificed his life to liberate the people and end the depredations of the tyrannical Al-Nei

The second section here is Chapter 2: The Life of Jor-El and reprints a pioneering miniseries that referenced many of those 27 vignettes as well as the key Krypton-focussed yarns of the Superman franchise.

In 1979 – when the Superman movie had made the hero a global sensation once more – scripter Paul Kupperberg and artist Howard Chaykin (assisted and ghost-pencilled by Alan Kupperberg) and inkers Murphy Anderson & Frank Chiaramonte synthesised the scattered back-story details into DC’s first limited series World of Krypton.

Although never collected into a graphic novel, this glorious indulgence was resized into a monochrome pocket paperback book in 1982, supervised by and with an introduction from the much-missed, multi-talented official DC memory E. Nelson Bridwell. That magical celebration of life on the best of all fictional worlds is a grand old slice of comics fun and forms the spine of this new composite compilation.

The story opens on ‘The Jor-El Story’ with Superman reviewing a tape-diary found on Earth’s moon: a record from his long-deceased father which details the scientist’s life, career and struggle with the nay-saying political authorities whose inaction doomed the Kryptonian race to near-extinction.

As the Man of Steel listens, he hears how Jor-El wooed and won his mother Lara Lor-Van despite all the sinister and aberrant efforts of the planetary marriage computer to frustrate them, how his sire discovered anti-gravity and invented the Phantom Zone ray, uncovered the lost technology of a dead race which provided the clues to Kal-El’s escape rocket, and learns his father’s take on Superman’s many time-twisting trips to Krypton…

In ‘This Planet is Doomed’ the troubled orphan feels his father’s pain when android marauder Brainiac steals the city of Kandor, reels as rogue scientist Jax-Ur blows up the inhabited moon of Wegthor, and is revolted as civil war almost crushes civilisation thanks to the deranged militarist General Zod and when his own cousin Kru-El forever disgraces the noble House of El…

The countdown to disaster continues until ‘The Last Days of Krypton’ as political intrigue and exhaustion overwhelm the distraught scientist and, all avenues closed to him, Jor-El takes drastic action…

Heavily referencing immortal classics such as ‘Superman’s Return to Krypton’ (Superman volume 1 #141, November 1960), Fabulous World of Krypton mini-epics ‘Jor-El’s Golden Folly’, ‘Moon-Crossed Love’, ‘Marriage, Kryptonian Style’ and a host of others, this epochal saga from simpler and more wondrous times is a sheer delight for any fan tired of unremitting angst and non-stop crises…

The final section – Chapter 3: The World of Krypton – is a dark reworking by John Byrne, Mike Mignola, Rick Bryant & Carlos Garzon depicting a radically different planet.

In 1985 when DC Comics decided to rationalise, reconstruct and reinvigorate their continuity with Crisis on Infinite Earths, they used the event to simultaneously regenerate their key properties at the same time. The biggest gun they had was Superman and it’s hard to argue that the change was not before time.

The big guy was in a bit of a slump, but he’d weathered those before. So how could a root and branch retooling be anything but a pathetic marketing ploy that would alienate the real fans for a few fly-by-night Johnny-come-latelies who would jump ship as soon as the next fad surfaced?

This new Superman repurposed the hero into a harsher, more uncompromising hero who might be alien in physicality but completely human in terms of feelings and attitudes. As seen in Man of Steel #1 (not included here), ‘From Out of the Green Dawn’ traced the child’s voyage in a self-propelled birthing matrix to a primitive but vital and vibrant world.

He had escaped from a cold, sterile, soulless and emotionally barren planet barely glimpsed before it was gone in a cosmic flash…

As the hero’s new adventures became a sensational success, his creators felt compelled to revisit the hero’s bleakly dystopian birthworld. It was however, now conceived of as a far darker and more forbidding place and 1987’s 4-issue miniseries opted to reveal how that transformation came about.

Scripted by Byrne, it all begins in ‘Pieces’ (art by Mignola & Rick Bryant) as an indolent hedonistic scientific paradise comes crashing into ruin after the age’s greatest moral dilemma boils over into global civil war.

For 10 thousand generations Kryptonians have enjoyed virtual immortality thanks to the constant cultivation of clones to use for medical spare parts. The rights of the clones had been debated for centuries but has recently resulted in sporadic violence. The situation changes after ultra-privileged Nyra is exposed as having stolen one of her supposedly brain-dead clones for an act of social abomination. Exposure leads to murder, suicide and a rapidly escalating collapse of social cohesion…

Centuries ‘After the Fall’, Van-L wanders a planet shattered by devastating war technologies, surviving only because of the nurturing war suit. The grand planetary society is gone, replaced by constantly warring pockets of humanity, but Van is in need of allies, even if they were once lovers or despised foes. He has learned that the original instigator of the collapse still lives and plans to assuage his shame and guilt by blowing up the planet…

For the third issue the scene shifts to millennia later as young scholar Jor-El immerses himself in a traumatic ‘History Lesson’.

The distant descendant of Van-L obsessively probes the last days of the conflict and the nuclear annihilation scheme of terrorist cell Black Zero, but his compulsion causes him to almost miss a crucial social obligation: meeting his father and the grandparent of Lara, selected by The Masters of the Gestation Chamber as his ideal DNA co-contributor to the first Kryptonian allowed to be born in centuries…

Carlos Garzon steps in to finish Mignola’s pencils for concluding chapter ‘Family History’ as, in contemporary times, Superman agrees to an interview with Daily Plant reporter Lois Lane. The subject is how Krypton died, and why…

Precising the intervening millennia of history and stagnation, the Last Son of Krypton reveals how his own birth-father uncovered a shocking secret, rebelled against his moribund, repressed culture and found brief comfort with perhaps the last kindred spirit on his world. Kal-El then tells of how they ensured his survival at the cost of their own…

Celebrating the many and varied Worlds of Krypton, this is a magnificent tribute to the imagination of man creators and the power of a modern mythology: the ever-changing evolution of a world we all wanted to live on back in the heady days of yore…
© 1970, 1971, 1972, 1973, 1976, 1977, 1979, 1987, 2008, 2018 DC Comics. All Rights Reserved.

Superman: The Atomic Age Sundays volume 1: 1949-1953


By Alvin Schwartz, Wayne Boring & Stan Kaye (IDW/DC Comics)
ISBN: 978-1-63140-262-3

It’s indisputable that the American comicbook industry – if it existed at all – would have been an utterly unrecognisable thing without Superman. Jerry Siegel & Joe Shuster’s bold and unprecedented invention was fervidly adopted by a desperate and joy-starved generation and quite literally gave birth to a genre if not an actual art form.

He was also shamelessly copied and adapted by many inspired writers and artists for numerous publishers, spawning an incomprehensible army of imitators and variations within three years of his summer 1938 debut.

The intoxicating blend of breakneck, breathtaking action and triumphal wish-fulfilment which epitomised the early Man of Steel soon grew to encompass cops-and-robbers crime-busting, socially reforming dramas, science fiction, fantasy, whimsical comedy and, once the war in Europe and the East also engulfed America, patriotic relevance for a host of gods, heroes and monsters, all dedicated to profit through exuberant, eye-popping excess and vigorous dashing derring-do.

In comicbook terms Superman was master of the world. Moreover, whilst transforming and dictating the shape of the fledgling funnybook industry, the Man of Tomorrow relentlessly expanded into all areas of the entertainment media.

Although we all think of the Cleveland boys’ iconic invention as the epitome and acme of comicbook creation, the truth is that very soon after his debut in Action Comics #1 the Man of Steel became a fictional multimedia monolith in the same league as Popeye, Tarzan, Sherlock Holmes and Mickey Mouse.

Diehard comics fans regard our purest and most powerful icons in primarily graphic narrative terms, but the likes of Batman, Spider-Man, Black Panther, The Avengers and all their hyperkinetic kind long ago outgrew their four-colour origins and are now fully mythologized modern media creatures, instantly familiar in mass markets across all platforms and age ranges…

Far more people have viewed or heard the Man of Steel than have ever read his comicbooks. His globally syndicated newspaper strips alone reached untold millions, and by the time his 20th anniversary rolled around at the very start of what we know as the Silver Age of Comics, he had been a thrice-weekly radio serial regular and starred in a series of astounding animated cartoons, as well as two films and a novel by George Lowther.

Superman was a perennial sure-fire success for toy, game, puzzle and apparel manufacturers and had just ended his first smash live-action television serial. In his future were three more shows (Superboy, Lois & Clark and Smallville), a stage musical, a franchise of blockbuster movies and an almost seamless succession of games, bubblegum cards and TV cartoons beginning with The New Adventures of Superman in 1966 and continuing ever since. Even his superdog Krypto got in on the small-screen act…

However, during his formative years the small screen was simply an expensive novelty so the Action Ace achieved true mass market fame through a different medium: one not that far removed from his print origins.

Although pretty much a spent force these days, for the majority of the last century the newspaper comic strip was the Holy Grail that all American cartoonists and graphic narrative storytellers hungered for. Syndicated across the country – and frequently the planet – it was seen by millions, if not billions, of readers and generally accepted as a more mature and sophisticated form of literature than comic-books. It also paid far better.

And rightly so: some of the most enduring and entertaining characters and concepts of all time were created to lure readers from one particular paper to another and many of them grew to be part of a global culture.

Flash Gordon, Dick Tracy, Buck Rogers, Charlie Brown and so many more escaped humble and tawdry newsprint origins to become meta-real: existing in the minds of earthlings from Albuquerque to Zanzibar.

Some still do…

Even so, it was always something of a risky double-edged sword when a comicbook character became so popular that it swam against the tide (after all weren’t the funny-books invented just to reprint strips in cheap accessible form?) to became actual mass-entertainment – and often global – syndicated serial strips.

Superman was the first original comicbook character to make that leap – about six months after as he exploded out of Action Comics – but only a few have ever successfully followed. Wonder Woman, Batman (eventually) and groundbreaking teen icon Archie Andrews made the jump in the 1940s with only a handful such as Spider-Man, Howard the Duck and Conan the Barbarian having done so since.

The daily Superman newspaper comic strip launched on 16th January 1939, supplemented by a full-colour Sunday page from November 5th of that year. Originally crafted by such luminaries as Siegel & Shuster and their studio (Paul Cassidy, Leo Nowak, Dennis Neville, John Sikela, Ed Dobrotka, Paul J. Lauretta & Wayne Boring), the mammoth task soon required the additional talents of Jack Burnley and writers Whitney Ellsworth, Jack Schiff & Alvin Schwartz.

The McClure Syndicate feature ran continuously from 1939 until May 1966, appearing at its peak in more than 300 daily and 90 Sunday newspapers; boasting a combined readership of more than 20 million. For most of the post war years Boring & Stan Kaye illustrated the spectacular Sundays (eventually supplemented by artists Win Mortimer and Curt Swan). The majority of the strips – from 1944 to 1958 – were written by still largely unsung scribe Alvin Schwartz.

Born in 1916, Schwartz was an early maestro of comicbooks, writing for Batman, Superman, Captain Marvel and many other titles and companies. Whilst handling the Superman strip he also freelanced on Wonder Woman and other superheroes as well as genre titles such as Tomahawk, Buzzy, A Date with Judy and House of Mystery.

After numerous clashes with new superman Editor Mort Weisinger, Schwartz quit comics for commercial writing, selling novels and essays, and latterly, documentaries and docudramas for the National Film Board of Canada. He also worked miracles in advertising and market research, developing selling techniques such as psychographics and typological identification and was a member of the advisory committee to the American Association of Advertising Agencies. He died in 2011.

After too many years wallowing in obscurity most of Superman’s newspaper strip exploits are at last available to aficionados and the curious newcomer in tomes such as this compiled under the auspices of the Library of American Comics.

Showcasing Schwartz and artist Wayne Boring in their purest prime, these Sundays (numbered as pages #521 to #698 and collectively spanning October 23rd 1949 to March 15th 1953) feature a nigh-omnipotent Man of Steel in domestically-framed and curated tales of emotional dilemmas and pedestrian criminality rather than a parade of muscle-flexing bombast, with humour, wit and satire comfortably replacing non-stop angst and bludgeoning action.

Following an affable appreciation of the creators and the times in ‘An Introduction’ by Mark Waid, ‘A Wayne Boring Gallery’ provides a tantalising selection of Superman and Action Comics covers from the period before the weekly wonderment commences in all its vibrant glory.

Sadly, the serials are untitled, so you’ll just have to manage with my meagre synopses of the individual yarns…

Kicking things off is a charming fantasy as the Metropolis Marvel is temporarily stranded in Arthurian Britain after a US government time travel experiment goes awry. Whilst living in the past he befriends and helps out court magician Merlin: an old duffer whose conjuring tricks aren’t fooling anyone anymore…

The first new story of 1950 begins on February 12th and details how swindler Joseph Porter cons the Man of Steel into taking his place and clearing up his problems with the cops and the numerous gulled victims. This includes a hilarious spoofing sequence as Superman plays un-matchmaker to a scandalously-affianced hillbilly ingenue that will delight fans of Li’l Abner

The extended tale opening on May 28th offers another timeless human-interest drama given a super-powered spin as two aging robber barons recall their regulation-free heydays before embarking on a ruthless wager to see who will get “anything they wish for” first.

The only limitations imposed are their imaginations and financial resources and before long Superman is hard-pressed to keep collateral casualties to a minimum…

One of the few antagonists to transfer from the funnybooks to the Funnies pages was fifth dimensional prankster Mr. Mxyztplk who popped back to our third dimension and took instant umbrage to an arrogant Earth educator. Dr. Flipendale had the temerity to declare the imp a mass delusion and refused to believe or even acknowledge the escalating chaos his pronouncements triggered…

Strip #573 (October 22nd) offers a different take on the classic secret identity crisis when Clark is exposed as an invulnerable man to all of Metropolis. Although gangsters are convinced, Lois Lane is not, claiming the underworld is perpetrating a frame-up…

That yarn takes us to the end of the year and 1951 opens on January 7th with a tale of suspicion and injustice as Clark heads back to childhood hometown Smallville to celebrate Superboy Week and encounters a young man nursing an ancient grudge.

When a poison pen and rumour campaign looks set to spoil the festivities, the hero’s investigations uncover a betrayed child, a framed, murdered father and nefarious clandestine misdeeds carried out by corporate rogues in the Boy of Steel’s name…

Another identity crisis bedevils Clark beginning on April 1st 1951. Here a killer’s case of mistaken identity seemingly exposes the reporter as super-strong and bulletproof. Surely, he must be the indomitable Man of Steel in disguise?

Not according to Professor Pinberry who believes the hapless scribe has been accidentally exposed to his new superpower ray machine, Clark is happy to grasp at the fortuitous alibi but trouble mounts after the public demands to see the machine in action again and the city’s biggest mobster goes after the gadget to make himself Superman’s equal…

Strip #609 starts the next quirky exploit on July 1st as old duffer Salem Cooley comes to Metropolis and enjoys the most miraculous winning streak in history. Even Superman’s astounding powers can’t keep up with the string of happy circumstances, fortuitously profitable accidents and close shaves. Everybody wants to be the old coot’s pal, so who then is behind the constant assassination attempts on superstitious Salem and what reward could possibly tempt anyone to challenge the luckiest man alive?

A new serial opens on September 9th as Superman agrees to write Daily Planet articles about some of his previous exploits to benefit crime prevention charities. However, when the capers he cites are restaged by mysterious malefactors the city soon turns against the Man of Tomorrow and it takes all his super-wits to uncover the mastermind behind it all and stop one of the boldest crimes in the city’s history…

To lure a crime boss out, Superman agrees to be absent from Metropolis for a few weeks in the next adventure (running from November 18th 1951 to January 13th 1952). However, when a poverty-struck boy succumbs to disease and depression, the Man of Might decides to return and act undercover, inspiring the kid’s recovery by granting wishes made on a “magic wand”.

That task becomes increasingly difficult after crooks get hold of the stick and the invisible hero has to play along to sustain little Teddy’s recuperation…

From January 20th Superman plays guardian angel to former wastrel and drunken playboy Reggie de Peyster who swears he’s a reformed character. Nobody but Superman realises the trust fund brat is sincere and all the appalling and shameful scandals he’s currently implicated in are being manufactured to cut the heir out of a vast inheritance…

Lois Lane takes centre stage in the tale opening on April 6th as, after months of being sidelined, the daring reporter quits her job to find a career offering some real excitement. She’s soon the assistant to private detective Mike Crain, catching crooks and bodyguarding glamourous stars, but the work seems dull and pedestrian. Of course, Lois is utterly oblivious to the fact that Superman is secretly intervening in his patriarchal efforts to get her back where she belongs. Ah, different times, eh?

When maverick Hollywood producer/director Hans Bower arrives in Metropolis, (June 29th he promptly declares Clark Kent to be his latest mega-sensational super-star. A force of nature unable to take “no” for an answer, he soon has the bewildered reporter helming his next box office blockbuster but as shooting progresses Superman uncovers a covert agenda and shocking secret behind the mogul’s extraordinary actions.

Uncanny crime is the order of the day from September 21st when bizarre illusions plague Metropolis and scientist Dr. Wagonrod accuses Superman of perpetrating hoaxes and staging crises due to an undiagnosed split personality. The truth is far more devious than that, though…

Concluding this first Atomic Age collection, from November 30th 1952 to March 15th 1953, readers were avidly watching the skies as an alien capsule fell to Earth and disgorged a succession of alien bio-weapons to test humanity. The Man of Steel was hard-pressed to defeat the army of bizarre beasts but did have one immeasurable advantage: the sage advice and input of life-long science fiction fan Sedgwick Ripple

The Atomic Age Superman: – Sunday Pages 1949-1953! is the first of three huge (312 x 245 mm), lavish, high-end hardback collections starring the Man of Steel and a welcome addition to the superb commemorative series of Library of American Comics which has preserved and re-presented in luxurious splendour such landmark strips as Li’l Abner, Tarzan, Rip Kirby, Polly and her Pals and many of the abovementioned cartoon icons.

It’s an unimaginable joy to see these “lost” Superman stories again, offering a far more measured, domesticated and comforting side of one of America’s most unique contributions to world culture. It’s also a pure delight to see some of the most engaging yesterdays of the Man of Tomorrow. Join me and see for yourself…
© 2015 DC Comics. All rights reserved. SUPERMAN and all related characters and elements are trademarks of DC Comics.

Superman’s First Flight


By Michael Jan Friedman & Dean Motter (Scholastic)
ISBN: 978-0-43909-550-1

Congratulations on your Anniversary, Man of Tomorrow!

We parochial and possessive comics fans too often regard our purest and most powerful icons in purely sequential narrative terms, but characters such as Batman, Wonder Woman and Superman long ago outgrew their four-colour origins and are now fully mythologized modern media creatures instantly familiar in mass markets, platforms and age ranges.

One particularly captivating case in point is this enthralling retelling of the Man of Steel’s formative journey to self-discovery, retold for youngsters as part of the Hello Reader early-learning program devised by children’s publisher Scholastic.

Categorised as US Level 3 (school years 1 and 2), with Level 2 being kindergarten and 1 as pre-schoolers, the smartly recapitulated story spans that crucial divide wherein kids still want their parents to read to and with them, but as the little tykes are also beginning that wonderful, magical journey into literacy as solo voyagers…

This clever, sensitive and age-appropriate retelling by Michael Jan Friedman encapsulates and addresses every maturing child’s growing feelings of potential alienation, sense of growth, self-discovery and independence by focussing on High School student Clark Kent on the day that the solitary teen discovered exactly why he has always felt somehow different from his classmates.

When Clark suddenly, impossibly, hears and sees a car crash occurring miles away, without thinking he is running and jumping over buildings. Arriving on the scene he tears the metal doors off burning cars and outraces an explosion to save a trapped driver…

Terrified that he is some kind of monster he confides in his parents, who promptly share a secret they have been harbouring all Clark’s life.

In the barn they show the awe-struck lad a tiny one-man spaceship which had crashed to Earth years ago. Its cargo was an alien baby…

As Clark approaches the relic a hologram activates and he witnesses his birth-parents Jor-El and Lara who explain why he can perform feats no one else can…

Shocked and distraught, Clark runs away as fast as he can and before he even notices it is flying high above the world. The glorious shock at last makes him realise that different doesn’t mean bad…

Before long the world is daily improved and even saved by a visitor from afar known as Superman

This captivating adventure is a cleverly weighed introduction into the Action Ace’s canonical comicbook history, subtly addressing issues of adoption and belonging as well as more modern ideological issues such as the plight of refugees and immigrants. Remember, for a very long time distressed and needy strangers were welcomed with open arms in civilised countries…

Magnificently complemented by 31 painted illustrations by design guru and illustrator Dean Motter, this is an epic retold that will amaze kids and astound even their jaded, seen-it-all-before elders.

No Supermaniac could consider their collection complete without a copy of this wonderful little gem. Superman’s First Flight is the ideal introduction for youngsters to their – surely – life-long love affair with the Last Son of Krypton and reading in general…
© 2000 DC Comics. All Rights Reserved. All Rights Reserved.

My First Superman Book


By David Katz, designed by George Rucker with illustrations by José Luis García-López (Downtown Bookworks)
ISBN: 978-1-935703-00-6

Happy Birthday, Caped Kryptonian!

Superman is a hero for all ages. Since his debut in June 1938 (actually Action Comics #1 was on newsstands in May but let’s not quibble here), that’s a fact his creators and owners have always understood, with spin-offs and specially tailored books and other merchandise. He’s also the ideal power-embodiment that appeals to the little kid in us all: an unstoppable icon that says “you can’t dictate to me. I know what’s right and I’m going to do it!”

Good thing he’s not a bully then, no?

Such a potent image is ones you simply can’t assimilate early enough and there are number of books and merchandise items tailored to the youngest of potential fanatics. This is one of my very favourites and because of the art (yeah, sure, fanboy) is one even older and aged aficionados can legitimately hunt down.

Printed on solid durable board, My First Superman Book reiterates the key aspects of the Man of Steel’s mythology with bold primary-coloured art-spreads, courtesy of DC’s top brand and merchandising visualiser José Luis García-López. As an added inducement, the images are enhanced with 3D additions and gimmicks such as X-ray vision demonstrated by pop-up and pull-away tabs, as is the legendary phonebooth costume change.

Fabric and faux fur inserts afford a tactile dimension to the hero’s billowing cape and superdog Krypto’s glowing coat, whilst abundant glitter overprints add a sparkling sheen to the fabulous arctic Fortress of Solitude.

This book is a captivating introduction to the world of classic superhero symbology: offering a literally solid grounding in the basics of the Man of Steel’s incomparable legend and never forgetting the dual aim is inculcating fun and wonder.

A genuine delight and one you could even have some children to share it with if you want…
™ and © DC Comics 2010. All Rights Reserved.

The Adventures of John Blake volume 1: Mystery of the Ghost Ship


By Phillip Pullman & Fred Fordham (David Fickling Books)
ISBN: 978-1-91098-929-6 (HB)                    978-1-78845-059-1 (PB)

Since its premiere in 2012, The Phoenix has offered humour, adventure, quizzes, puzzles and educational material in a traditional-seeming weekly comics anthology for girls and boys. The vibrant parade of cartoon fun, fact and fantasy has won praise from the Great and the Good, child literacy experts and the only people who really count – a dedicated and growing legion of totally engaged kids and parents who read it avidly…

The potent periodical is rapidly approaching the 300th issue and showing no signs of slowing down. In fact, the company is expanding its output through a range of graphic novels and a new imprint of cartoon and strip illustrated biographies highlighting historical and contemporary groundbreakers and Earthshakers. Keep your eyes peeled for our reviews – and more importantly the actual books – bearing the legend First Names

Today however, it’s the turn of another kind of landmark, one from that aforementioned growing library of graphic novels for young people, and heralding the advent of a new juvenile hero in the grand tradition of Jim Hawkins and Alex Rider

Prestigious and multi award-winning author Philip Pullman (The Haunted Storm, The Good Man Jesus and the Scoundrel Christ, His Dark Materials) is a bit of a comics fan and – joined here by artist and painter Fred Fordham (Nightfall, Aces High, The Phoenix) – in 2017 introduced a bold new hero in beguiling and gripping sea yarn of mystery, imagination and literally timeless adventure.

Now available in a mass market paperback edition, Mystery of the Ghost Ship blends maritime swashbuckling, contemporary corporate skulduggery, sci fi bravado and high-octane espionage derring-do in a mesmerising rollercoaster ride of action and intrigue…

The eternal oceans obscure and contain many secrets, but none more baffling than the enigmatic Mary Alice: a roving phantom schooner perpetually wreathed in fog and mired in doom-laden prophecy and legend.

Seagoing folk have spoken of its comings and goings for decades – possibly centuries – and dread catching the attention of the red-shirted boy who gazes out from her silent, vaporous bow. The old adage says that those who look him in the eyes will be dead in a month…

In some ultra-modern quarters, the legends are taken extremely seriously. Tech-billionaire Carlos Dahlberg has been devoting precious time and immense amounts of his cutting-edge resources to tracking the Mary Alice, compiling sightings going back as far as 1614 Anno Domini.

He has to. Although notionally the most powerful man on Earth, his entire empire could be shattered by the appalling event he instigated one night in 1973 San Francisco: one witnessed and recorded by the ship’s youngest crewman…

Also obsessed with plotting the ship’s course and history is oceanographer Danielle Quayle Reid. So effective is she that her endeavours make her another target for Dahlberg’s ruthless and omnipresent organisation…

A third interested party is hyper-efficient British intelligence operative Commander Roger Blake. He and his superiors at the Admiralty have also been piecing together the myths surrounding the Mary Alice. They have a slight advantage in that they already know when, where and why the 1929 Einstein-Carmichael Expedition concealed an early high energy particle experiment that abruptly ended in a bizarre and uncanny accident.

What nobody knows yet is how that trip resulted in the luckless schooner being lost in the mists of time or what has happened to it since…

Someone with far more hands-on experience of the vessel is Australian schoolgirl Serena Henderson. When her woefully-inexperienced dad abruptly decided to sail his family around the world in 2017, Serena was promptly lost at sea somewhere in the South Pacific.

Tossed about in a huge storm she is plucked from a watery fate by an intense boy named John Blake and becomes the latest addition to a crew of seemingly-doomed seamen rescued by the ghostly crimson mist-runner.

As the boy tries to explain the strange meanderings of the ship, Serena gets to know the resolute, unflappable Captain Quayle and Davy Johnson, last survivors of the original 1929 crew and learns that all of the mariners are temporary travellers.

The ship perpetually (and apparently aimlessly) sails from age to age, epoch to epoch. Whenever the Mary Alice stops there is the chance of being attacked, picking up another sailor, and very occasionally visiting a port and time that allows a voyager to return to approximately their home era.

Serena’s current shipmates include Chinese trader Sammy Wu (picked up in the 1890s), British deckhand Charlie Banks (1790), 17th century Devon fisherman – and escaped slave of Barbary pirates – Dick Merryfield and Marcus Tullius Pallas, a Roman engineer hailing from the end of the 2nd century AD. They are all rather in awe of John, who seems to exert some control over the ship’s wanderings and is the only one to understand the arcane workings of the engine that moves them all.

As they progress about the sea through time and space, Serena is deemed to be far luckier than all of them as her initial outing looks to be her last. The schooner is heading for Fiji and remains – or has returned to – 2017…

In a world of satellites and instantaneous communications her return is suddenly big news and Danielle Quayle Reid is soon heading there too. She only makes it because Roger Blake intercepts and forcefully deals with the merciless mercenaries Dahlberg set on her trail…

When John brings Serena back to her family, more of the billionaire’s thugs are waiting to capture him, but the valiant kids double back, eluding them after a frantic high-speed chase culminating in their return to the swiftly-fading schooner…

Revealing close family ties to members of the ghost crew, Roger and Danielle compare notes and decide to go after Dahlberg even as, aboard the ship, John and Serena discuss their plight and the tech-entrepreneur’s reasons for hunting them.

John knows he is close to fixing the ship’s randomness and swears Mary Alice is both alive and helping him. After a chilling encounter with a true enigma of the deep, the schooner “fortuitously” approaches present-day San Francisco and a truly explosive showdown with Dahlberg, unaware that the missing piece of the puzzle rests with Roger and Danielle who are also closing in on the monied murder-fiend…

Also offering a full rundown on ‘The Crew’, this debut outing blends blockbuster action and superspy chic with eerie mystery and enchanting fantasy to entice and enthral readers who would love to see Horatio Hornblower, Dan Dare and James Bond team up to battle bad guys and trounce villainy in extreme HD and cosmic SurroundSound.

A non-stop joy from start to finish with the promise of more and even better to come…
Text © Philip Pullman 2017 and illustrations © Fred Fordham 2017. All rights reserved.

The Adventures of John Blake volume 1: Mystery of the Ghost Ship paperback edition will be released on 7th June 2018 and is available for pre-order now.

Showcase Presents the Haunted Tank Volume 1


By Robert Kanigher, Russ Heath, Irv Novick, Jerry Grandenetti, Joe Kubert, Jack Abel & various (DC Comics)
ISBN: 978-1-4012-0789-2

Robert Kanigher (1915-2002) was one of the most distinctive authorial voices in American comics, blending rugged realism with fantastic fantasy in his signature war comics, horror stories and superhero titles such as Wonder Woman, Teen Titans, Hawkman, Metal Men, Flash, Batman and others genres too numerous to mention here.

He also scripted ‘Mystery of the Human Thunderbolt’ – the first story of the Silver Age introducing Barry Allen as the new Flash to the hero-hungry kids of the world in 1956.

Kanigher sold his first stories and poetry in 1932, wrote for the theatre, film and radio, and joined the Fox Features shop where he created The Bouncer, Steel Sterling and The Web, whilst providing scripts for Blue Beetle and the original Captain Marvel.

In 1945 he settled at All-American Comics as both writer and editor, staying on when the company amalgamated with National Comics to become the forerunner of today’s DC. Whilst writing Flash and Hawkman, he created Black Canary and, decades later, debuted another memorable female lead in Lady Cop, as well as many memorable villainesses such as Harlequin and Rose and the Thorn.

This last torrid noir temptress he redesigned during the relevancy era of the early 1970s into a schizophrenic crime-busting super-heroine who haunted the back of Superman’s Girlfriend Lois Lane, which Kanigher also scripted.

When mystery-men faded out at the end of the 1940s, the ever-resourceful writer/editor shifted over to westerns and war stories, becoming in 1952 writer/editor of the company’s combat titles: All-American War Stories, Star Spangled War Stories and Our Army at War.

He created Our Fighting Forces in 1954 and added G.I. Combat to his burgeoning battle-portfolio when Quality Comics sold their line of titles to DC in 1956, all the while providing scripts for Wonder Woman, Johnny Thunder, Rex the Wonder Dog, Silent Knight, Sea Devils, Viking Prince and a host of others.

Kanigher was a restlessly creative writer and frequently used his uncanny but formulaic adventure arenas as a testing ground for future series concepts. Among the many epochal war features he created were Sgt. Rock, Enemy Ace, The War that Time Forgot and The Losers as well as the irresistibly compelling “combat ghost stories” collected in this stunning and economical monochrome war-journal.

This terrific first monochrome tome re-presents the early blockbusting exploits of boyhood friends Jeb Stuart Smith, Arch Asher, Slim Stryker and Rick Rawlins as depicted in G.I. Combat #87-119 (April/May 1961- August/September 1966) and also includes guest-star missions from The Brave and the Bold #52 (February/March 1964) and Our Army at War #155 (June 1965).

The eerie action begins with ‘Introducing – the Haunted Tank’, illustrated by the sublime Russ Heath. In this introductory tale the now-adult pals are all assigned to the same M-3 Stuart Light Tank, named for the legendary Confederate Army General who was a strategic wizard of cavalry combat. During a patrol the underdog neophytes somehow destroy an enemy Panzer even though they are all knocked unconscious in the process…

Narrated by Jeb as he mans the Commander’s spotter-position (head and torso sticking out of the top hatch and completely exposed to enemy fire whilst driver Slim, gunner Rick and loader Arch remain inside) the tanker recounts how a ghostly voice seems to offer advice and prescient, if veiled, warnings. These statements and their midget war machine soon draw the jibes of fellow soldiers who drive bigger, tougher war machines…

Eventually the little tank proves its worth and Jeb wonders if he imagined it all due to shock and his injuries, but in #88 ‘Haunted Tank vs. the Ghost Tank’, Jeb is actually seeing and conversing with his phantom namesake as he and the boys solve the utterly rational mystery of an enemy battle-wagon which seems to disappear at will.

‘Tank with Wings’ in G.I. Combat #89 was illustrated by Irv Novick and describes how old General Stuart’s impossible prophecy comes chillingly true after the M-3 shoots down a fighter plane whilst hanging from a parachute, after which Heath returned to limn a brutal and staggering clash against German ‘Tank Raiders’ who steal the Americans’ haunted home on treads.

Throughout the early days Jeb’s comrades continually argued about what to do with him. Nobody believed in the ghost and they all doubted his sanity, but ever since he began to see the spirit soldier Stuart Smith had somehow become a tactical genius. His “gifts” were keeping them all alive against incredible, impossible odds.

In #91’s ‘The Tank and the Turtle’ a chance encounter with a plucky terrapin leads to brutal clashes with strafing aircraft, hidden anti-tank guns and a booby-trapped village whilst ‘The Tank of Doom’ (illustrated by Jerry Grandenetti) sees the snowbound tank-jockeys witnessing true heroism and learning that flesh, not steel, wins wars…

In #93 Heath depicted a ‘No-Return Mission’ which depleted American tank forces until the Ghostly General took a spectral hand to guide his mortal protégé through a veritable barrage of traps and ambushes, after which ‘The Haunted Tank vs. the Killer Tank’ seeks to widen the General’s role as the phantom protector agonises over intel he is forbidden to share with his Earthly namesake during a combined Allied push to locate a Nazi terror-weapon.

This time it’s the young sergeant who has to provide his own answers…

The rest of the crew are near breaking point and ready to hand Jeb over to the medics in #95’s ‘The Ghost of the Haunted Tank’, but when Slim assumes command he too begins to see and hear the General amidst the blistering heat of battle…

In ‘The Lonesome Tank’ Jeb is back in the hot-seat and scoffing at other tank commanders’ reliance on lucky talismans, until the General seemingly abandons him and he is pushed to the brink of desperation, after which G.I. Combat #97’s ‘The Decoy Tank’ proves that a brave man makes his own luck after a Nazi infiltrator takes the entire crew hostage.

‘Trap of Dragon’s Teeth’ allows the Ghostly Guardian to teach Jeb a useful lesson in trusting one’s own senses over weapons and machinery in combat, and issue #99 greets the legendary Joe Kubert who opens a stint on the series in the book-length thriller ‘Battle of the Thirsty Tanks’, with the Stuart labouring under desert conditions which reduce both German and American forces to thirsty wrecks as they struggled to capture a tantalising oasis.

The crew reveal that their fathers had all been tank jockeys in WWI who had disappeared in action when ‘Return of the Ghost Tank’ in #100 finds the lads back in Europe. Shock follows shock as they realise their sires had all been part of the same crew and credibility is further stretched when the M-3 begins to retrace and re-enact the last mission of their missing fathers…

Any doubts about whether the General is real or imagined are finally laid to rest in #101’s ‘The Haunted Tank vs. Attila’s Battle Tiger’ (illustrated by Jack Abel), as the evil spirit of the barbarian becomes patron to a German Panzer and opens a campaign to destroy both the living and dead Jeb Stuarts, after which Kubert returned for ‘Battle Window’; a moving tale of old soldiers wherein a broken-down nonagenarian French warrior is given one final chance to serve his country as the American tank blithely trundles into a perfect ambush…

A particularly arcane prognostication in #103 drives Jeb crazy until ‘Rabbit Punch for a Tiger’ shows him how improvisation can work like magic in a host of hostile situations, whilst ‘Blind Man’s Radar’ helps the crew complete a dead man’s mission after picking up the sightless sole survivor of an Allied attack…

In the mid-1960s before the Batman TV show led to rampant “Bat-mania”, The Brave and the Bold was a comicbook featuring team-ups of assorted DC stars.

Issue #52 (February/March 1964) grouped Tankman Stuart with Sgt. Rock and Lt. Cloud as the 3 Battle Stars in ‘Suicide Mission! Save Him or Kill Him!’ (Kanigher & Kubert). In this superb thriller the armoured cavalry, infantry and Air Force heroes join forces to escort and safeguard a vital Allied agent who had been sealed into a cruel and all-encompassing iron suit.

Fast-paced, action-packed and utterly outrageous, the perilous chase across occupied France produced one of the best battle blockbusters of the era.

Back in G.I. Combat #105 the ‘Time-Bomb Tank!’ starts seconds after the B&B yarn as the Haunted Tank receives intel that Sgt. Rock’s Easy Company are under attack. As they dash to the rescue, however, circumstances soon cause the M-3 to become a mobile Marie Celeste…

The ‘Two-Sided War’ finds Jeb promoted to Lieutenant and suffering apparent hallucinations where he and his crew are trapped in the Civil War, after which #107’s ‘The Ghost Pipers!’ details how the tankers aid the last survivor of a Scottish battalion in an attack that actually spans two wars, before the armoured cavalrymen again team up with Rock in ‘The Wounded Won’t Wait’. As Rick, Arch and Slim are injured, the Easy Co. topkick rides shotgun on the brutal return trip back to base…

Issue #109’s ‘Battle of the Tank Graveyard’ downplays the supernatural overtones in a more straightforward clash deep within a deadly mountain pass whilst ‘Choose Your War’ has the Confederate General chafing at his role assisting “Union” cavalry… until circumstances again seem to place the modern soldiers in a historical setting and the two Jeb Stuarts work out their differences.

For #111’s ‘Death Trap’ the uncanny crew again work with Easy Company – in the desert this time since continuity was never a big concern for Kanigher – but when the M-3 is captured by the enemy, Jeb and the boys endure a bloody taste of infantry fighting before taking it back.

‘No Stripes for Me’ is actually a Sgt. Rock adventure from Our Army at War #155 (June 1965) with the Haunted Tank in close support as a battle-hungry General’s son continually refuses the commendations and promotions his valiant actions deserve, no matter what the cost to men or morale around him…

Rock and Jeb stayed together for G.I. Combat #112’s struggle against the Luftwaffe ‘Ghost Ace!’ who is Attila the Hun’s latest mortal avatar: a blistering supernatural shocker that once more forces the Phantom General to take a spectral hand in the battle against evil, after which ‘Tank Fight in Death Town!’ sees the war following the M-3 crew back into a much-needed leave.

Luckily Rock and Easy Co. are around to provide vigorous fire-support…

After nearly four years in the saddle, scripter Kanigher decided to revamp the backstory of the crew and issue #114 (October/November 1965) featured the Russ Heath illustrated ‘Battle Origin of the Haunted Tank’ with the General revealing that he had been assigned to watch over the M-3’s boys by Alexander the Great.

In the afterlife all great military commanders sponsor mortal combatants but Stuart had refused to pick anybody and was stuck looking after “Damned Yankees”. Happily, the courage and mettle of the boys under fire had changed many of his opinions after watching their first battle in the deserts of North Africa…

Heath also drew the team-up in #115 wherein Jeb is reunited with Navajo fighter-pilot Johnny Cloud as ‘Medal for Mayhem’ pits both spiritually-sponsored warriors against overwhelming odds and forced to trade places in the air and on the ground. (Cloud regularly encountered a cirrus-mounted Indian Brave dubbed Big-Brother-in-the Sky galloping across the heavens during his fighter missions…)

Novick then illustrated a sequel when Cloud and Stuart help proud Greek soldier Leonidas fulfil his final mission in the stirring ‘Battle Cry of a Dead Man!’

‘Tank in the Icebox’ in #117 is another Heath martial masterpiece wherein a baffling mystery is solved and a weapon that turns the desert into a frozen hell is destroyed before Novick assumes the controls for the last two tales in this volume, beginning with ‘My Buddy… My Enemy’ wherein a bigoted Slim learns tragically too late that not all Japanese soldiers are monsters and #119 again asks difficult questions when Jeb and the crew must escort an American deserter to his execution, with German forces attempting to kill them all before they got there in ‘Target for a Firing Squad!’

An added attraction for art fans and battle buffs are the breathtaking covers by Heath, Kubert and Grandenetti, many of them further enhanced through the stunning tonal values added by DC’s brilliant chief of production Jack Adler.

These spectacular tales cover the Haunted Tank through the blazing gung-ho early years to a time when America began to question the very nature and necessity of war (Vietnam was just beginning to really hurt the home front in 1966) and combat comics started addressing the issues in a most impressive and sensitive manner.

The stories here combine spooky chills with combat thrills but always offer a powerful human message that has never dated and may well rank amongst the very best war stories ever produced. This is a series long overdue for a modern archival and digital renaissance.
© 1961-1966, 2006 DC Comics, Inc. All Rights Reserved.