Silver Age Superman

 I hope you all don't mind if I take a Thursday to highlight someone else's work, but this video about the value of Silver Age Superman stories is extremely well-done and deserves to be shared:

It Makes Perfect Sense to Me!!!!

 

cover art by Curt Swan

Action Comics #389 (June 1970), written by Leo Dorfman and Curt Swan, is a product of the then-fading Silver Age of Comics, taking a silly premise and treating that premise seriously.

And I, by golly, am fine with that. I think you can argue that Superman's plan to prevent an alien invasion in this story makes perfect sense in a Comic Book Universe.

What is that plan? Well, Superman announces that he's tired of the superhero business and is going to try his hands at sports. He tries out for baseball, hitting a ball into orbit and otherwise easily showing up the pro players. But a kid manages to strike him out and Superman peevishly throws the ball into orbit as well. He then says that baseball isn't for him and flies away.

He keeps trying other sports, each time knocking a ball or bag into orbit before he apparently gets bored with the sport or is told it is too dangerous to let him participate.

What's going on here? Well, it turns out there's an alien ship in orbit around Earth, getting ready to take atmosphere samples. If the air proves good for the aliens, then they are going to invade.

Superman had secretly filled every item he knocked into orbit with a mutation gas, designed only to affect life from the alien homeworld. All the sports items are now stuck on the end of the ship's probes, so it collects the gas rather than atmosphere samples.

That baseball with which the kid strikes out Superman was full of gas, but has a small rip. Not wanting to take a chance on the gas being harmful to Earth, he tossed that ball away as well.

So the ship flies to the alien homeworld and, when the aliens test the samples, they find out Earth's "atmosphere" would mutate them into horrible monsters. They call off the invasion.

I love Superman's plan. Yes, it is an example of Silver Age goofiness (which I consider a strength to the story), but it really does make sense. I've made a list:

1. Superman would use violence only as a last resort. This is a non-violent solution.

2. He could have threatened the aliens. ("I'm Superman and this is the Justice League. You don't stand a chance.") But the aliens might have a powerful armada and try anyway. Even if they are defeated, people could get hurt.

3. Why didn't he just fill bladders full of the mutation gas and attach them to the ship's probes? Thus saving him from having gone through the whole trying-out-for-sports rigamarole? Well, because... because... SHUT UP! The plan makes perfect sense, I tell you! So just shut up!

Well, maybe it doesn't make complete sense. But the goofy charm of the Silver Age (quickly dying away by the 1970s and probably finished off when Gwen Stacy died in 1973) cannot be denied. This is simply a fun story.

Next week, we'll pay a visit to Ben Bowie and His Mountain Men. 

Cover Cavalcade

 AUGUST IS DC 80-PAGE GIANT MONTH!!!

A Curt Swan cover from 1964.

Time Travel, Jesse James and a lot of Accidental Deaths (maybe).

 

cover art by Curt Swan

I'm okay with the rules about Time Travel--DC was reasonably consistent about that even during the often-inconsistent Silver Age.

But what the heck are the rules for Jimmy's Superman Signal wrist watch?

"The Gunsmoke Kid," a story from Superman's Pal Jimmy Olsen #45 (June 1960) raises this question. In fact, it does sort of raise a time travel question as well. The strength of the story is in the fact that we can still enjoy it as over-the-top fun and asking questions about internal logic just adds to the fun.

The story's author is unknown (though I would guess Otto Binder) and the art is by Curt Swan.

Jimmy and Clark are interviewing Professor Potter about his newest invention--a time machine. The professor hasn't perfected it yet--you can travel back in time, but he hasn't figured out how to return you to the present.

Jimmy, who is wearing a Wild West costume because he's attending a costume party later on, plays with the machine. This is unwise and after 45 issues of bizarre adventures and previous encounters with Potter's various inventions, he really SHOULD know better.

He's teleported back to the Old West. Here's where the time travel logic becomes a bit skewed. He appears in a prison cell and is mistaken for an outlaw called the Gunsmoke Kid. So did he replace the REAL Gunsmoke Kid? If so, where is the real Kid? And why didn't anyone recognize him as NOT being the Kid? Unless the Kid is Jimmy's double? Did the sheriff just decide to accuse anyone who mysteriously appears in his jail of being a dangerous outlaw? Is the sheriff just really bad at his job? WHAT'S GOING ON HERE?

The Gunsmoke Kid--er, I mean Jimmy Olsen--is busted out of prison by Jesse James, who promises Jimmy a chance to kill the three most famous outlaws in the West: Wyatt Earp, Wild Bill Hickcock and Bat Masterson.

Jimmy tries to miss on purpose all three times he ambushes one of the lawmen, but each time it appears that he's accidentally killed them anyways. He also is mysteriously able to cheat at poker (something he has to do to keep Jesse from shooting him), dealing himself four aces after dealing other players four kings and four queens respectively. Jimmy is both concerned that he's inadvertantly committed murder AND wondering if he's changing history.

It's at the poker game that the signal watch issue arises. The watch normally sends out an ulta sonic sound that only Superman can hear. But Jimmy uses it as an audible alarm to distract the losing poker players. So is there a second alarm set in the watch that is audible to normal humans--which I don't think was every mentioned either before or after this story? And wasn't the Superman signal able to penetrate the time barrier on other occasions, even though we are told here that it can't? (I can't think of an example--please comment if you do know of one.)

Eventually, the three supposedly dead lawmen are spotted. Jesse decides to kill Jimmy, but Superman does turn out to be nearby, blowing up a dust storm to rescue Jimmy without being seen. (The story is consistant with the DC Comics Time Travel rule that you can't change the past.)

It was Superman in disguise who posed as the lawmen and faked their deaths, as well as Superman fixing the poker game. He's recorded all this, so Jimmy has some awesome film foogage of himself to show at parties. I guess that was worth the mental agony of thinking you were a murderer, Jimmy? Superman? What about that, huh? Is emotional anguish a fair trade for party bragging rights?

I am, of course, making fun of the story. But I do so without rancor or any heartfelt criticism. With some comic books, imaginative fun should be preferable to narrative consistency. Superman's Pal is a prime example throughout its run of when this is true. Its a fun story and if I could time travel, replace Mort Weisinger as editor and change history--well, I just wouldn't. In Weisinger's universe, YES, mental anguish is a fair trade for party bragging rights! I mean, of course it is! The story is perfect just as it is. 

Next week, we'll begin a five part visit with the Avengers, then the X-Men, then (eventually) both groups.

Super News!

 Is it right for me to take up an entire Thursday post just to brag about something fairly minor? That would be wrong. That would be mind-numblingly egotistical.

Oh, what the heck.

The 2024 coffee table book Superman: The Definitive History quotes me on page 28:

Justice League Annual #1 (1983)--The Final Chapter

 

cover art by Rick Hoberg

JLA Annual #1 (1983): Plot by Paul Levitz, script by Len Wein, art by Rick Hoberg

The last chapter ended with Zatanna summoning the entire League (or, at least the members working on the current case) to the Dream Dimension. Now they are assaulting Dr. Destiny's base.

Once inside, they battle some random nightmares and also discover that Destiny is holding the current Sandman a prisoner.

This version of Sandman is a little obscure, because he only had a few appearances in the 1970s and 1980s. Originally created by Jack Kirby and Joe Simon in 1974, I believe his identity was retconned by Roy Thomas in a later appearance in Wonder Woman. Anyway, by this time, he's a professor who has gotten trapped in the Dream Dimension (able to visit Earth only an hour a day) and who now operates as a protector of that realm.

But for the moment, he's not doing anyone any good. In a tactical blunder, the various heroes try to charge Dr. Destiny one at a time, allowing him to use Sandman's sleep-inducing sand to knock them out. I suppose it can be argued that the nightmares they are fighting stopped them from making a coordinated attack on the master villain. But this isn't explicitly stated and the heroes come across looking a little silly.

But before going down, Elongated Man presses a button ejecting Sandman from the tube in which he's trapped, sending him back to Earth. Dr. Destiny doesn't care, though. He has captured the Justice League and now plans to force them to sleep without dreaming until they deteriorate the way he has.

Because he wasn't conscious, Sandman has no idea how he got to Earth. But from observing dreams, he knows that Superman is nearby, taking a nap as Clark Kent.

Sandman enters the apartment and gets attacked by nightmares. This wakes up Superman, who disposes of the nightmares. Sandman then brings them both to the Dream Dimension.

They fight Destiny, who at first appears to be getting the best of them. But (as we learn in the Epilogue), Ralph come up with a plan that allows the League to break out of their tubes while Destiny is distracted by Sandman and Supes. Confronted by a dozen superheroes, he faints. 

A brief epilogue explains how Ralph planned the escape and has Sandman turn down membership in the League. (Being able to visit Earth for just an hour at a time puts a limit on his usefulness.) 

I do think the heroes getting captured one at a time does make them look bad, but other than that, Hoberg's art looks great and the bizarre fight scenes are fun to look at. Ralph regaining his confidence in the previous chapter is highlighted nicely here by his saving the day twice. And its nice to see a character falling into obscurity--the Sandman--get another day in the limelight before he disappears into Comic Book Limbo. 

As for the book as a whole, it tells a strong story that follows Comic Book Logic and thus makes internal sense, it looks good and it uses a large cast of characters effectively. It come out near the end of the Bronze Age, demonstrating that this era of comics was still capable of telling fresh, fun stories.

Next week, we'll jump back to the Golden Age and visit with yet another obscure hero.

Cover Cavalcade

 JULY IS BRAINIAC AND LUTHOR MONTH!!!

A cover by Jose Luis Garcia-Lopez from 1977.

Cover Cavalcade

 JULY IS BRAINIAC AND LUTHOR MONTH!!!!

The Man of Steel needs to file an appeal right away! This 1962 cover is by Curt Swan.

Cover Cavalcade

 JULY IS BRAINIAC AND LUTHOR MONTH!!!

This 1983 cover introduced us to the new look for both villains. New or old look? Which is better?

Cover Cavalcade

 JULY IS BRAINIAC AND LUTHOR MONTH!!!!

Here's another 1964 Curt Swan cover.

Cover Cavalcade

 JULY IS BRAINIAC AND LUTHOR MONTH!!!

This Curt Swan cover is from 1964.

A Wedding, A Phantom Zone Projector and a Dead Man Who Isn't Dead.

 

cover art by Dick Giordano

It'll take a moment to set up the background for this issue (Green Lantern/Green Arrow #122, November 1979). Back-up Green Lantern Guy Gardner had supposedly been killed in a Power Battery accident six issues earlier. Guy had been friendly with a gypsy named Kari Limbo, who had psychic powers. Since then, Hal Jordan has gotten friendly with Kari. So, as writer Denny O'Neil and artist Don Heck begin this issue, Hal and Kari are going to the chapel and are gonna get married.

But on the way into the church, Kari has a vision and draws a picture of a Phantom Zone projector. This sends Superman--a guest at the wedding--off to the Fortress of Solitude to check on his projector. Once there, though, he is pulled into the Phantom Zone by what looks suspiciously like a Green Lantern-created construct.

Hal and Kari, meanwhile, are soldiering on with the ceremony. But when they get to the "I do" part, Kari goes into a full-on trance, mumbling about Superman, a power ring and darkness. This pretty heavily implies that Superman is in danger and that it is Green Lantern related.

Well, you can't marry your gal while she's in trance and besides, helping the Man of Steel seems to have become Hal's responsibility. He flies to the Fortress. Unable to get past the security features, he uses his ring to fish up the Phantom Zone projector. Then he recharges his ring and enters the Zone.

What follows is a Lantern vs. Lantern fight, with both GLs using their rings in clever ways. The other GL, to no one's surprise by this point, is Guy Gardner. The accident that supposedly killed him threw him into the Zone, where he's been watching Hal play footsie with Kari. Also, the Phantom Zone criminals, led by General Zod, are controlling him and lending their own will power to his ring. Also, Superman has been beaten unconscious and is being held by the criminals.

It's a cool fight, with Guy gradually coming out ahead thanks to the increased power provided by the criminals. But Superman has been playing possum and interfers at just the right moment. He and Hal save each other from certain death in the ensuing struggle before Hal, who had maintained a link with his power battery to keep an exit open, escapes with Superman in tow.

This issue is pretty cool, mostly because of the clever use of the Phantom Zone in the story and Don Heck's imaginative depiction of a Green Lantern battle. Looking back at the Hal/Kari romance arc that had been playing out in the preceding issues, it can be argued that their relationship was too quick and too superficial to bring enough emotional impact to the spoiled wedding. But two Green Lanterns going up against each other with constructs that include a battle axe, a giant magnet, and giant scissors makes up for a lot. 

At this point, Hal still needs to rescue Guy, but that will have to wait for the next issue, which we will look at next week. We'll then be returning to Green Lantern every few weeks for an epic storyline that builds off of this one, in which Oa itself is threatened with invasion.

Ghosts, Space Dragons and a Really Cool Superfeat.

 

cover art by Jose Luis Garcia-Lopez

In the previous issue of Action Comics, Clark and Lois are in Smallville, dealing with apparent ghosts haunting the Kent house. Superman also gets ambushed by a super-powerful ancient Kryptonian warrior. In the next issue (#495--May 1979), writer Cary Bates and artist Curt Swan manage to bring the various plot elements together, explain what's going on, and bring the tale to a satisfying conclusion.

The full explanation is effectively divided between a dream Clark has of one of Superboy's adventures and a villain monologue. To sum it up, years ago, Superboy stopped a dragon-like monster from destroying an alien civilization. The Boy of Steel is given a token of gratitude, with no one realizing that the creature's astral essence had taken up residence in that token.

After years of rebuilding its energy, the creature manipulated Chief Parker and summoned up ghostly images. 

Now it is ready to assume a physical form, that of the ancient Kryptonian warrior called a Dwalu. It was thus able to sucker-punch Superman in the last issue. In this issue, the Dwalu and Supes eventually face off for a real fight.

It's a short fight, but gee whiz it's fun. Cary Bates shows off how good he is at writing Superman by having the hero use his powers in clever ways. He tunnels under the Dwalu to get in his own sucker-punch. When that doesn't work, he tangles the Dwalu's entergy sword in his cape and apparently throws it away. But actually he threw it around the world, catching it and using it to defeat his opponent.

That's just cool.

It turns out the creature isn't displeased with being defeated, as this somehow frees its astral essence and it leaves Earth.

Throughout the story, there's also some really fun dialogue between Chief Parker and Lois, then later Parker and Clark, hinting at Lois and Clark's feelings for one another without resolving anything.

Good characterization, a fun,original story and clever use of superpowers. This is how you make a comic book fun.

Next week, we'll see how Hulk is dealing with the death of a loved one.

Home Town Visits and Ghostly Soldiers

 

cover by Jose Luis Garcia-Lopez

"The Secret of the Super S" appeared in Action Comics #494 (April 1979). Written by Cary Bates and drawn by Curt Swan, it sends Clark Kent back to his hometown of Smallville in search of a story.

Someone mailed a variation of Superman's S symbol to the Daily Planet. The letter that comes with it promises more Superman secrets to come.

Perry sends Clark and Lois to Smallville (where the letter was postmarked) to find out what's what. They are supposed to be met at the train depot by now-retired Police Chief Parker. But Parker is at Clark's old home, being attacked by a Revolutionary War ghost. 

Parker is unhurt by the ecto-plasmic blade. That night, Superman makes a nostalgic patrol run over Smallville. He stops some vandals from spray-painting buildings, only to discover one of them has painted the alternate-S. The hooligan claims the idea came to him while he was driving on the road that passed the Kent home.

Soon after that, Lois is threatened by the ghost of a World War 2 soldiers.

Various clues bring Superman a partial answer to what's going on. Something was projecting images of soldiers into the heads of Parker and Lois. Parker is a Revolutionary War buff and Lois had an uncle who served in the war. Also, Superman realized that Parker was mentally commanded to mail the S to the Daily Planet. But who or what is behind all this?

Parker and Lois had seen what for each of them was the most powerful warrior-image they could think of. Superman finally sees such an image. But in his case, it's a little more than an image. He's attacked from behind by a Dwalu, a seven-foot warrior that had lived on Krypton centuries ago. They had wiped each other out in a civil war. But now one of them is back with his full powers and his equally-powerful Xaka sword and, as Superman says as he loses consciousness--"With or without super powers, I"m no match for it."

This is a fun issue. Swan's art was always great. It's nice to see Chief Parker in an adult Superman story. The premise is fresh and clever. We'll see how Superman deal with a Dwalu when we look at Action Comics #495 next week. 

Cover Cavalcade

 

August is Second-Tier Villain Month!

A Neal Adams cover from 1977.

Cover Cavalcade

 

March is TRIAL BY JURY month!

Superman? How could you? This is a 1968 cover by Neal Adams.