Evil is Relative

The Superman Family of comics is on a hot streak right now, and are better overall than they've been in a decade-plus. But right now the one that I'm cracking open as soon as I get home from the comic shop is Sophie Campbell's Supergirl, which is quite possibly the best series ever to feature a character with that name, Kryptonian or otherwise. 

I want to highlight just one detail in the most recent issue, Supergirl #3, because it shows a story trope we've seen a lot in the last several years, particularly with Supergirl, but gets it right in a way that few creators do. 

See, Supergirl gets hit with a beam powered by Black Kryptonite. As a result she turns into Satan Girl (and Krypto turns into a bad dog who sadly isn't given a name) and goes on a rampage through Midvale. This is a bit de rigueur for Supergirl; Satan Girl was an evil duplicate of her created by Red Kryptonite back in 1963, and Black Kryptonite made its first comic book appearance in 2006's Supergirl #5, where it created an evil duplicate of Supergirl. Since then, Supergirl's joined with H'el, become a Red Lantern, and been Jokerized, and I feel like I'm forgetting a couple of other "Supergirl goes bad" plotlines. It seems to be the go-to story for a character that comic writers often don't have any other ideas for. Which is a shame, because there's plenty of other drama to mine from Supergirl's core concept. 

Black Kryptonite is likely inspired by the synthetic Kryptonite in Superman III, where Gus Gorman substituted "tar" for the unknown ingredient. After exposure to the synthetic Kryptonite, Superman went bad, until eventually he split into two individuals and had a fight until they reintegrated.

"Superman goes bad" is a pretty familiar story beat in recent years, too, whether it's his post-resurrection brawl in the Snyder Justice League film or the Injustice universe version of the character who jumped from video games to comics to a crossover with the main universe's Jon Kent, or the various evil alternate versions like Brightburn and Homelander. And I get the interest in exploring the horror inherent to someone truly sinister having the practically unlimited power that Superman has. We see variations of those stories even with characters like General Zod and Lex Luthor, remorseless villains driven by megalomania.

What I appreciate about Superman III and Supergirl #3 is what they tell us about Superman and Supergirl. When loosed from the bonds of their morality, what do we see them do? Not murder, not world domination, not horrific violence.

No, instead they just become jerks.

Superman straightens the Leaning Tower of Pisa. Supergirl pantses a bunch of people. They do pranks and acts of vandalism. They do the kind of "evil" that a villain in a Care Bears cartoon would do. 

And that tells us something interesting, something fundamental about the Cousins of Steel: That at their core, there's not some world-dominating villain just barely restrained by the bonds of their steadfast moral codes. Cruelty and domination aren't in their nature. The worst they can muster is mean.

To me, this rings a lot truer than the murdergod stories. I'm sure there are people who would, if given the power and the freedom from guilt, go on a rampage. The current political situation makes that abundantly clear. But I think a lot more of us would just be more lazy, petty, hedonistic, and immature.

Which means that even when they've been turned evil, Supergirl and Superman are better people than their villains. And I appreciate that.

The Waid Street Kids

...or "I'm too out of practice to come up with a decent James Gunn/Speeding Bullet pun." 

So, I just watched Superman (2025). I had the thought, in part because they played a trailer for Ick, starring Brandon Routh, that I've been doing this long enough (*cough* off and on *cough*) to have been able to write immediate post-theater thoughts now for five different Superman-centric movies spread across almost twenty years. 

Oh crap, the 20th anniversary of this blog was two and a half weeks ago. I meant to set a reminder. Hey, would it surprise you that in the two decades since I started writing here, I got an ADHD diagnosis? 

What was I saying? Oh right, Superman. It was good. Not perfect, but, like, really good. Almost everything I disliked feels like nitpicking. And having gone through the Superman film opus a couple of times now, I'd eventually landed on the position of "they've never made a truly good Superman movie." I was literally just telling my mom yesterday that the best Superman movie was Superman III, a position I have argued for (and against) on this very blog. 

And I will reserve final judgment until a second watch, but Richard Pryor may have just slid down the slope to second place. Spoilers after the jump. 

Dawn happens every day

It is 2004. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2006. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2011. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2014. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2016. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2018. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2021. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

It is 2023. I am cautiously optimistic about the bold new direction for the Superman titles after a long period of floundering.

 

 

I'm just saying, I've been here before. 

 

I've actually generally enjoyed the Superman comics of the last couple of years. The Warworld Saga was quite good, even if it maybe dragged on a little longer than necessary and definitely needed a recap page, maybe with some character headshots, at the start of each issue. Son of Kal-El has been less good, mostly because Jon has yet to develop anything resembling a personality, but I've been vocal about my issues with that on worse sites.

On paper (which is how comics are printed), this is kind of exactly what I want. Action is now a Superman Family anthology book, and while a Power Girl spotlight and Danny J. rehashing the post-Convergence Lois & Clark status quo aren't exactly what I would have pegged for the initial backups, I'm happy that the former is getting a spotlight and that we're getting to spend more time with bearded Clark and young Jon. And I'm even happier that the Steels and Kong Kenan are in the main group. With Kon, Jon, and the adopted Phaelosians, it's probably hoping too much that we'll eventually see the return of Lor-Zod, but I can be optimistic. Phillip Kennedy Johnson has earned my trust for this run, and I hope he sticks it out for awhile. 

I was a lot more worried about Superman. I thought Williamson's Flash series went off the rails pretty quickly, and the entire Dark Crisis saga was bad even on a purely technical level, let alone as a satisfying story or crossover event. My experience with Williamson of late has felt like he's been reheating Geoff Johns' and Scott Snyder's leftovers, and that has not made for entertaining comics. So I was blown away by Superman #1, which managed to strike precisely the right balance of getting back to basics while introducing enough new story hooks and conflict points to make things feel fresh. The way Superman's secret got put back in the bottle was dumb (and also the second time Manchester Black has been used to do precisely that thing, two_nickels.gif) but they gloss past it nicely here to get to a situation where Lex Luthor is the sinister voice in the back of Superman's head, voicing all of his anxieties and doubts. Lois chafing under the restrictions of being the Planet's temporary Chief makes for some good character beats, and repurposing LexCorp into SuperCorp (which feels like a knowing nod to CW fans) puts Superman in a fascinating position. There's a lot of promise here, and it reminds me a lot of the Busiek/Johns "Up, Up, and Away" story from the post-Infinite Crisis era, which kicked off a pretty decent run of comics, all things considered. I hope Jamal Campbell is in it for the long haul; I'm not particularly familiar with his work prior to this, but this book looks fantastic. 

Adventures of Superman: Jon Kent...remains probably the weakest link in the bunch. Giving Jon a secret identity is a good idea, and something that should have been done back at the start of Son of Kal-El (or, more accurately, should have been done for more than a few pages). Giving him the electric blue suit and powers is an even better idea (even if they keep dragging it out for no clear reason), I've been on the "give someone else in the Superman family that costume" bandwagon longer than anyone. And the series sets up some good drama in Jon's changing powers, his ability to be a civilian for the first time, and how that affects his relationship with Jay, who is publicly recognized as Superman's boyfriend. 

Except that it's ditching all of that to send Jon on a multiversal trip to battle Ultraman because they finally remembered what his backstory was, and have decided that Ultraman is just Gog now. And it's all leading up to a crossover with the Tryhard Injustice universe, and I cannot roll my eyes hard enough. It's honestly nice to see Val-Zod, a character I missed out on but who has a nice design, but Jon's current problem has a lot to do with the fact that he has no clear anchor and few connections to the regular universe, and removing him from it yet again isn't going to fix that problem. Doing it so that Tom Taylor can take a little victory lap around Superman characters he's written just feels like a major disservice to a character who's already being effectively demoted and sidelined. It's a good looking book, and I welcome the chance to see my second-favorite Superman costume on somebody again, but I kind of hope this is Tom Taylor's swan song on the Son of Steel so that someone else can give the kid a real chance at being a star.

Where does that leave us in the long run? It's hard to say. I was just musing recently about what an amazing accomplishment it was that the post-Crisis brain trust managed to churn out a weekly comic of pretty consistently high quality for the better part of a decade, and how unique that is in the history of comics as a medium. We're unlikely to ever see anything like that again, but that doesn't mean we can't have a few years of the Superman comics being Good, Actually. You could say I'm cautiously optimistic, but [calculates average] I guess we'll check back in 2.375 years and see whether or not we're onto another bold new direction.

Guttor #2 - He-Man and Superman Fistfight in Liminal Space

It's interesting to look back on DC and Marvel's history of licensed comics. Marvel famously acquired a lot of properties and incorporated most of them into their shared universe, to one degree or another. Star Wars and G.I. Joe were mostly siloed off into their own corners of the universe, but J. Jonah Jameson yelled at Godzilla and Spider-Man met the Transformers. And then there's Rom: Spaceknight, who's so Marvel Universe that Rick Jones was his sidekick. 

DC, by contrast, is a lot more conservative. I don't have an encyclopedic knowledge of DC's licensed properties—I know Power Lords and Atari Force showed up around this time, and there were certainly a bunch in the 60s, like a long-running Jerry Lewis series—but it seems like they were a lot less integrated. But then, the DCU as a whole has always been more compartmentalized than the 616, so I suppose that makes sense. I also wonder how much of the difference is because DC was already a subsidiary of Warner Bros. by this point. 

Which makes it all the more interesting to me that they decided to kick off their Masters of the Universe comics with the kind of special guest star move you'd expect from a Marvel book. DC's first story with the Masters of the Universe license would be 1982's DC Comics Presents #47.

It's a comic I have some fondness for...

Look, Superman is definitely my biggest obsession, but He-Man was my first, so putting them together is kind of a dream come true. And I think it works better here than it would have a year or two later, when the cartoon had eclipsed everything else as the dominant version of He-Man. Because cartoon He-Man is just classic Superman in furry underwear, the heroic strongman with a milquetoast secret identity. 

This era's He-Man has a bit more in common with Batman, with Prince Adam as the carefree, womanizing playboy alter ego. Though it's suggested that this isn't really an act with Adam: he really is this unserious ale-loving goof-off with a strong sense of pride, but puts that aside when it's time to do his He-Man duties. He's also super-strong, even before transforming? It seems like the people of Eternia are just generally extremely strong, similar to Golden Age Kryptonians. 

DC Comics Presents #47, "From Eternia--with Death!" is written by Paul Kupperberg, with art by Curt Swan and Mike DeCarlo, letters by Ben Oda, and colors by Gene D'Angelo. It is wild to see the He-Man characters in Curt Swan's distinctive, timeless style. There's an interesting theme in the first part of the story, about keeping up appearances. Clark Kent is playing the klutz to maintain his image, while Adam is picking fights in a bar and chafing under Teela's heavy-handed guardianship, a threat to his masculine pride.

It's at this point that the Sorceress summons Adam to stop Skeletor from another assault on Castle Grayskull. The attack inadvertently brings Superman to Eternia, where he fights Skeletor and Beast-Man, but learns quickly that he's vulnerable to Skeletor's magic powers. He meets He-Man, and the two quickly become allies, but Skeletor takes control of Superman and pits the Man of Steel against the Most Powerful Man in the Universe and it's glorious. 

I wish this could go on for twenty more pages. But Superman manages to use his heat vision to distract Skeletor and free himself, and Skeletor teleports away. And I feel a little like Superman's parting sentiment might be what fans of DC Comics Presents thought about this issue:

"Welp, that was confusing." 
"Want me to explain it to you?"

"Nah, I'm good."

The story has extremely strong backdoor pilot energy. But it also serves as this nice showcase of the buffet-style approach taken to what little He-Man lore there was at the time. From the Series Bible, we have Prince Adam and his talking pet Cringer, Teela is the Captain of the Royal Guard, and Queen Marlena is a traveler from Earth (which is how Adam has heard of Superman, though that suggests that Superman's been active for at least nineteen years, or that time passes differently on Eternia, or that Superman traveled both in space and in time, any of which are possible). We've traded a quasi-medieval setting for the post-apocalyptic Hyborian landscape of those early minicomics.

But we also take the story structure from those first four minicomics: the Sorceress summons Adam to protect Castle Grayskull (which she is not the guardian of), and he gets power not from a sword and incantation, but from a cave. Skeletor seeks the two halves of the Power Sword, which he can use to steal Grayskull's secrets. Skeletor attacks the Castle and gets the upper hand, but through teamwork He-Man sends him packing. 

This transitional state is where we find the rest of this era of DC stories, continuing with "Fate is the Killer," a promotional 16-page preview inserted into several comics a few months after DC Comics Presents #47 hit. According to ComicBookRealm, this preview was included in 16 titles that month, which is considerably more than similar previews for Atari Force or M.A.S.K., both of which came later. I wonder if the fact that DC only managed a 3-issue miniseries was a factor in scaling down the preview tie-ins for later properties. 

For the creative team, Kupperberg, Swan, and Oda carry over from the DCCP issue, with Dave Hunt sharing art duties, and Anthony Tollin coloring.

The preview begins with a glimpse of Zodac, the cosmic enforcer—think half Metron, half Watcher—zooming through space as narration describes Eternia as one world in the DC multiverse. He interrupts a party at the palace—where life of the party Prince Adam has recently arrived with "only two wenches"—to demand the world's greatest champion be handed over, forever. Adam and Cringer head off to meet the Sorceress—or Goddess, this time—at her magic cave. We're treated to more of those interesting departures from the Series Bible: Zoar the falcon is not actually the Sorceress, just her emissary, and Man-at-Arms is not privy to the details of He-Man's origins. 

Meanwhile, Skeletor is still searching for the other half of the Power Sword, which has been hidden in the deepest ocean trench on Eternia—an idea that showed up in King of Castle Grayskull, where the two halves of the Power Sword were on Eternia's highest peak and buried beneath its strongest rock. So while He-Man fights Zodac, Skeletor sends magic through a portal at the bottom of the ocean to bring back the half of the Power Sword, which has been hidden on Earth.

The side effect of this is that an Eternian creature that looks like a Muppet octopus has ended up on Earth, where it encounters our guest star, Superman!

Superman is pulled into the portal and quickly realizes that he's on Eternia again, and manages to stop Skeletor from uniting the Power Sword as the stars reach their proper alignment for him to take Grayskull's power (a plot point that would show up again in the "Masters of the Universe" movie). Skeletor attacks Superman with magic, and Superman throws away one half of the Power Sword, which slaps He-Man in the back some distance away. He-Man leaves the battle with Zodac to go after Skeletor, but Zodac warns that He-Man is fated to die in this battle. 

And he does, shot by a magic bolt from Skeletor's hand, just as he hurls his half of the Power Sword into Skeletor's chest, wounding Skeletor so severely that his life-energy is pulled into He-Man, reviving him. He-Man wakes up, and Superman is once again left in a state of confusion.

And they wouldn't meet again for 31 years, outside of my toybox and fanfic.

It really is interesting how much of a push DC gave this property. At this time, DC was also producing the second wave of minicomics for the toys, which were written by Gary Cohn, co-creator of Blue Demon and Amethyst. They were very heavily involved with He-Man for what feels like maybe a year, before ties were, apparently, completely severed. The Marvel/Star series, the Magazine, and the daily Newspaper strip would all start in 1986, after the cartoon had finished original episodes and as the toyline was in decline. I wonder if it just wasn't profitable for DC, or if Mattel decided they could do better in-house, but it seems an odd choice to go for three years at the height of the property's popularity without a full-sized comic series on the newsstands, particularly when comics were such a major part of this line's popularity. 

Meanwhile, between the DC Comics Presents issue and the Preview, a little comic called G.I. Joe: A Real American Hero launched across the street at Marvel, and would publish continuously until 1994, outlasting even the "New Adventures of He-Man" reboot. Between the DC and Marvel/Star MOTU series, Marvel also launched Transformers, and continued into 1991. MOTU and G.I. Joe were the first vanguard of the deregulated market that allowed these multimedia franchises based on toylines, so it's interesting to see how MOTU kind of fumbled the ball, while G.I. Joe would become the model for basically every intellectual property that followed, with market saturation in every conceivable medium.

Next time, we'll wrap up the first DC Comics era of Masters of the Universe by looking at the three-issue miniseries. 

Superman & Lois - Haywire

A late post because I decided to let "Justice League" live in my head for a week. Spoilers ahead!

Justice Fatigue: An Exhaustive (and Exhausting) Discussion of Zack Snyder's "Justice League"

So, Zack Snyder's "Justice League." 

Prelude to a Bad Decision

I decided, apropos of nothing, to put on Joss Whedon's Zack Snyder's "Justice League" while doing some work today. I discussed the movie when it came out eleventy billion years ago, and thought it was fine. It's not good, but grading on the curve of every DCEU movie up to that point, it was a solid B-. Sitting in 2021, I remember bits and pieces of it—Steppenwolf looking like he stepped out of an XBox 360 cutscene, the decent cell phone video of Superman that was marred by the terrible attempt to CGI out Cavill's moustache, all the characters sounding like their rough counterparts in "The Avengers"—but not a lot of details.

Obviously the intervening years have altered my perspective on the film, both through the revelations about the behind-the-scenes racism and abuse and through the fanatical and also frequently abusive behavior of the fans clamoring for this version of the film, which absolutely definitely existed and was finished years ago and also needed an additional $70 million dollars and reshoots to complete. 

That perspective has not been altered for the better. 

Against my better judgment, I'm going to watch the Snyder Cut sometime, probably this weekend, so I figured it'd be good to see how it deviates from the theatrical release, like I did for the Lester and Donner cuts of "Superman II" so very long ago. I don't expect to enjoy either one; my feelings on the superhero movies of Zack Snyder are well-documented, and even under the best circumstances, four hours is too @#%*$! long for a superhero movie. But four hours of nihilistic spite dressed up in cinematic deepities and CGI with a sepia-toned overlay is unlikely to be the best of circumstances. 

Will it be better than two hours of the extremely generic re-skinned "Avengers: Age of Ultron" that got released to theaters? There's only one way to find out!

Superman & Lois - The Perks of Not Being a Wallflower

I was almost ready to comment on how this series is using single-word episode titles, just like "Smallville" did, but now we've got this mouthful playing on a book that was roughly contemporary with that show. It's pretty clunky, but whatever. 

It's nice that this episode gave us a break from the Luthor story, choosing instead to focus on Lois's investigation and some good character moments for the Kents and Lana's family. The mantra that "life is simpler in Smallville" gets an explicit repudiation, some fences are mended, and some new mysterious antagonists are introduced.

Spoilers ahoy! 

Superman & Lois - Heritage

I think I've figured it out. If "Lois & Clark" was "Moonlighting" with super-powers, "Smallville" was "Dawson's Creek" with superpowers, and "Supergirl" started as "The Devil Wears Prada" with superpowers, then "Superman & Lois" is "This Is Us" with superpowers. 

Spoilers ahead!

An older tradition than I thought

If you've been in comic circles for some time, chances are pretty good that you're familiar with "Man of Steel, Woman of Kleenex," the essay Larry Niven wrote in 1969 on the subject of Superman's potentially lethal sex life. If you haven't read it, then you might have gotten the jist of it from that scene in "Mallrats." 

It makes sense to me that such an essay, crass and silly though it is, would be written in 1969. That's the tail-end of the Silver Age, where Superman's power-creep had reached such levels that his hair was indestructible, he could break the time barrier under his own power, and he could juggle planets like helium balloons. 

So it was a little surprising to learn this week that Vladimir Nabokov wrote a poem with a similar sentiment way back in 1942. Nineteen forty-two! Six years before Kirk Alyn would bring the character to life, submitted in between the release of the seventh and eighth Fleischer cartoons, back when Superman wasn't consistently flying in the comics, the guy who would go on to write Lolita was speculating about the impossibility of relations between humans and Kryptonians. 

The letter he wrote when he submitted the poem to The New Yorker has big "uwu pwease pay me if it's not too much twouble" energy. 

I am sending you a poem on the troubles of Superman of the Funnies (with, if necessary, apologies to his, or rather its, makers). I should like to repeat that I experience most horrible difficulties and distress in wielding a language new to me – after 25 years of good old Russian. If, however, the poem is acceptable – not too ungrammatical as a whole and not too risqué about the middle of its favours – might I perhaps humble [sic] request a honorarium as adequate as possible to my Russian past and my present agonies?

The story of how Nabokov's poem, "The Man of To-Morrow's Lament," came to be rediscovered after all these years, and how it ties into his son's love of the character at the time, is a pretty interesting one, which you can read about at the link (if you have a subscription). But the poem itself, well...read on.

Superman & Lois - Pilot

Spoilers Ahead! 

Two Girls, a Guy, and a Pastoral Place

Whoopsie, went a whole year without posting.

I very much enjoy the Arrowverse shows, even though the only episodes of Arrow I've seen are the crossover tie-ins. Legends of Tomorrow is a constant delight, Black Lightning is incredible, The Flash is good superhero melodrama, and Supergirl is fine. It's fine. It's generally mostly fine. 

Look, Supergirl started out strong on CBS, but since it moved to CW, it's been plagued by recurring problems. The cast is stellar. I love every actor and character on that show. Dreamer is a revelation, and I want to see her ongoing comic series (where maybe her powers will be slightly more clearly developed). 

But the politics? The recent episode dealing with violence against trans women (and trans women of color in particular) was a welcome and refreshing shift in the show's usual tone of Peak Liberal White Feminism. For a show that has its heart so clearly in the right place, tackling real-world issues like internment camps for immigrants and the radicalization of cishet white men into fascist paramilitary organizations, it has also featured a hero who, up until last season, was consistently working with a government organization and adopting center-left approaches that openly demonized actual leftists and ignored intersectionality in favor of a lily-white worldview. 

Buckle in, comrades. This is an anarchist blog now. 

There are other problems as well. The way they derailed the Kara-Jimmy relationship to pair her with Mon-El for a season, then fumbled around to find something to do with his character until he left the show, feels more than a little casually racist. I think there are legitimate queerbaiting complaints to be had about how they've handled the Kara/Lena relationship. Alex's shifting desires and priorities have felt less like character development and more like trying to figure out where she fits in the show now.

There's a lot of good, too, especially with some of this most recent season's course corrections. Killing Dean Cain's character offscreen was a hilarious solution to that unfortunate problem. I appreciated Brainiac-5's evolution that gave him a more comics-accurate Coluan appearance and removed some of the played-out "smart guy doesn't understand emotions" character type. I like that every time Lena says "Non Nocere" it makes me think of standing in a Buffalo Stance.

And I've liked Tyler Hoechlin and Bitsie Tulloch as Superman and Lois Lane, on the occasions where they've appeared. Tulloch isn't my favorite Lois, and I wish Hoechlin's costume had the trunks, but they've been quite good when they've shown up. And, you know, this is the first live-action Superman show with tights and flights and the word "Superman" in the title since 1997. I am, unexepctedly, excited for that. 

Besides that, it's a different take on the characters. Lois gets second billing, but rather than being a will-they/won't-they romantic dramedy, it's centered on Clark and Lois as an established couple and experienced parents of teenagers. Personally, I'd prefer the kids to be younger—Crisis changed their single infant into two teenage boys—but I suppose there are some story and tone reasons to prefer teenage kids. Overall, I think a lot of the choices are really savvy: setting the story in Smallville immediately sets this show apart from urban Supergirl, and the teens who cut their sci-fi melodrama teeth on Clark and Lois and Lex in Smallville are now in their thirties, settling down and having kids of their own. This show has the potential of tapping into that 20-year nostalgia cycle for the mid-2000s.

But...well, my excitement has been dampened somewhat in the lead-up to the premiere. Naturally, there's the stories Nadria Tucker has told about experiences in the writers' room, how they dismissed concerns about racism and sexism, about "#metoo jokes" and the like. There's also the optics; Supergirl is coming to an end next season, and it's hard not to feel weird about the diverse, female-dominated show about found family being more-or-less replaced with the nuclear family show whose principal cast is four white people, three of them dudes. I never really watched the trailer, but the response to it on my social media feed was largely negative (though for whatever reason, my social media feed is heavy on people who apparently aren't happy if Superman's not snapping necks in a rubber suit). On the other hand, I've seen really positive responses from two of the Superman fans I respect the most, Charlotte Finn and David Mann. And that clip of Hoechlin in the Fleischer suit and the Action #1 pose? Yeah, that's pretty cool. 

So I'm not sure what to expect as I finally hit up the ol' TiVo and watch the two-hour Pilot. But I'm about to find out. 

Rocket Trips #9: DC Universe Origins "The Origin of Superman" - 2009

This story is a little interesting in that it was originally published online, which was fairly rare for mainstream comics a decade ago. First available in print in 2009's DC Universe: Origins, this is part of the same series that ran as backup features in 52, Countdown, and...ugh, Justice League: Cry for Justice. Here's "The Origin of Superman"!

Creative Team: Len Wein, Gary Frank, Brad Anderson, & Sal Cipriano.

All-Star Summary: Doomed planet. Desperate scientist. Kindly couple. Moral upbringing.

Key Elements: Kryptonian scientist Jor-El sent his infant son Kal-El into space to escape their doomed homeworld. The rocket landed in Kansas and was discovered by farmers Jonathan and Martha Kent, who adopted the child and named him Clark. They raised him to have a strong moral fiber, and he grew to develop additional strengths and abilities far beyond those of normal humans. As an adult, he lives as a mild-mannered reporter for a major Metropolitan newspaper and fights a never-ending battle for truth and justice as Superman!

Interesting Deviations: As we've seen a couple of times now, this origin opens with a little bit of commentary. I'll be keeping an eye out throughout this series to see just when the "people have asked us about Superman's origins" give way to "you've all heard this story before" captions like the one here.

I appreciate the emphasis placed here on Clark's upbringing being the source of his moral character. A lot of the narration is familiar, from the radio show opening, but it eschews the "faster than a speeding bullet" section in favor of the slightly-less-commonly-referenced "change the course of mighty rivers" section.

It's also interesting to note that Lara isn't mentioned at all, and while we see a shot of Perry, Lois, and Jimmy—similar to ones that have shown up elsewhere, like in The Amazing World of Superman and Superman #146—they aren't named on-panel. 

Additional Commentary: It's a short one, folks, so there's not a lot to say. It'll be interesting to compare and contrast this with what we see in Superman: Secret Origin, which Frank also drew, and which came out around the same time (I can't pin down what came first; the first issue of Secret Origin came out in November, 2009, and the DC Universe: Origins TPB was printed in February, 2010, but the origin here was available online earlier than that). The bit about classic stories and powers is neat, though. Very Who's Who.

The Rocket: It's very similar to the one we'll see in Secret Origin, save for some differences in coloring that may be down to how the lighting is supposed to look in this panel. Regardless, it's got these weird bug eyes, and I don't know why? It's distinctive, but not in a good way. One exploding Krypton.

Taking the week off

It's been a wild week, folks, so I won't be posting a new Rocket Trips this Wednesday. I'll have another Rocket Trips up by the 28th, and hopefully sooner than that. I've also been working on something else. I won't say everything about it yet, except that I think you'll find it...electrifying. Stay tuned!

Rocket Trips #8: The Adventures of Superman S01E01 "Superman on Earth" - 1952

"Come with us now on a far journey, a journey that takes us millions of miles from the Earth, where many years ago the planet Krypton burned like a green star in the endless heavens."

Today this series makes its first foray off of the comic page and into the vast multimedia landscape of Superman adaptations. "The Adventures of Superman" followed shows like "The Lone Ranger" and "Dragnet" in making the leap from the radio to the television, and I'd venture to say that nowhere is that more apparent than in this first episode.


Creative Team: Tommy Carr, Robert Maxwell, Whitney Ellsworth, George Reeves, Phyllis Coates, Jack Larson, John Hamilton, Herbert Rawlinson, Stuart Randall, Aline Towne, Frances Morris, Danni Sue Nolan, Tom Fadden, Robert Rockwell, and Jeffrey Silver.

All-Star Summary: Doomed planet. Desperate scientist. Last hope. Courageous couple. 

Key Elements: The distant planet Krypton was home to an advanced civilization of supermen, at the peak of human perfection. The scientist Jor-El has been brought before a council to explain destructive events that have been happening around the planet. He reveals that the planet is doomed to explode in the near future. The Council dismisses his conclusions and warnings as the ravings of a madman, and scoff at his plan to use rockets to evacuate the population to the planet Earth.

Jor-El returns to his lab, where he adds fuel to his model rocket. He plans to test it, and if it arrives on Earth safely, he'll build one large enough to take himself, his wife Lara, and his infant son Kal-El to safety. But when the tremors grow stronger, Jor-El realizes that the planet is in its last moments. The model ship is large enough for one passenger; Jor-El tells Lara to go, but she refuses, saying if any of them are to survive, it should be their child. They put the baby in the rocket and launch it toward Earth, just before Krypton finally explodes.

On Earth, Eben and Sarah Kent see a rocket crash as they are driving down a country road. Eben hears a baby crying inside the flaming ship and rescues it. Neither the child nor his blanket were burned by the fire. The rocket is destroyed, leaving no trace behind. The Kents decide to keep the baby and raise him as their own son, Clark.

As Clark grows, he discovers that he has amazing powers that set him apart from other people, like super-strength, super-speed, and X-ray vision. Ma Kent tells him the story of how they found and rescued him.

When Clark is 25 years old, his father dies of a sudden heart attack. Ma encourages him to leave town for Metropolis, and to use his amazing powers to help people. She even made him an indestructible costume out of the blankets he was wrapped in as a baby. He resolves to keep his identity secret by acting timid and wearing glasses. He takes a job at the Daily Planet, a great metropolitan newspaper, so that he'll be able to learn about emergencies quickly. He meets Perry White, Jimmy Olsen, and Lois Lane, who is immediately suspicious of Clark.

And when emergencies occur, he's there to save the day—as Superman!

Interesting Deviations: Here, it's not the Science Council that hears Jor-El's predictions, but the governing council, meeting in the Temple of Wisdom. The Council specifically commissioned Jor-El's research in this version, which may not be an explicit departure from other origins, but certainly feels like one in spirit.

Krypton's fate is due to its sun drawing the planet closer, which honestly feels more realistic than the usual exploding core. It makes sense for the described disasters like volcanoes and earthquakes to result from changes in tidal forces as Krypton's orbit decays and the sun's gravitational pull exerts a greater influence. How much of that was known in 1952, and how much was just good sci-fi guesswork, I can't say. I also can't say that an explosion is likely to result from this process either, but certainly being torn apart might.

Talking with Lara, Jor-El notes that despite the clouds, there's been a strange glow in the west, and Lara complains about the oppressive heat, asking if it's due to the planet getting closer to the sun. Maybe it's just because it's black-and-white television, but I was immediately reminded of the "Twilight Zone" episode "Midnight Sun," except that aired nine years after this.

One really interesting, minor variation between the different retellings is who Jor-El intends to send in the rocket. Occasionally it's Kal-El from the start, sometimes both Lara and Kal-El. Here, Jor-El initially suggests that Lara go alone, then that the rocket might be large enough for both her and Kal-El, but she refuses both times. "I'd be lost on a new world without you, Jor-El."

The Kents here, as in the radio show's (lost, to my knowledge) second version of the origin and the Kirk Alyn serials, are Eben and Sarah. To my knowledge, these names never made the jump to the comics.

There's a lovely exchange here, where Sarah says "Eben! You can't do nothin', you'll get burned!" and Eben replies "Gotta do somethin'," before throwing dirt at the hatch to put out the fire. If I may read too far into things, Superman's parents in this segment illustrate the two most important aspects of his character: hope even in the bleakest situations, and using whatever power you have to do whatever good you can.

The Kents discuss bringing the child to an orphanage, but decide that nobody would believe their story. Interestingly, this bears a lot of resemblance to how the story would go in the post-Crisis age.

The classic image of Clark demonstrating his powers is lifting a heavy object—often a tractor or a couch—to retrieve a ball. It's interesting, then, that these early versions often go for the X-ray vision instead.

The radio program's second version of the origin story has a part titled "Eben Kent Dies in a Fire," so his heart attack is likely a departure from that story.

We see the name Smallville for the first time in this story at the bus depot. The name's been in the comics since at least 1949, but I'd be interested to know if it had shown up in the serials or radio show before this. Notably, despite "Smallville" being the setting of Superboy's adventures for at least a few years in the comics, there's no indication that Superboy existed in this continuity.

Clark is unable to get an interview with Perry the traditional way, so he tries slipping into Perry's office through the window, using a ledge outside the building. It's a bold move, but maybe not one that suits that whole "mild-mannered" demeanor. An emergency interrupts his impromptu interview—a blimp was unable to land, and now a man is hanging from its cable—and Perry sends Lois and Jimmy to cover it. Notably, he tells them to have a couple of photographers dispatched, which suggests that Jimmy hasn't taken that job yet.

Superman's first rescue is the man who'd been dangling from the rope. In his interview, he says it was a "super-guy," but Clark had already beaten him to the punch with the headline.

Additional Commentary: The opening narration is taken verbatim from the first episode of the radio show, "The Baby from Krypton," and much of what happens on Krypton follows pretty close to the original radio script, including the presence of Ro-Zan and Jor-El's "solar calculations." 

Jor-El, played by Robert Rockwell, looks eerily like Norm Macdonald.

And Lara, Aline Towne, looks pretty sultry.

I think this shot is extremely interesting, given how clear it is that Lara is holding a sack rather than a baby. The blanket fell away to expose the sack as she moved, and she tries to cover it back up in a way that looks natural, but it's interesting to see that this didn't merit another take.

Take a look at that superdrool. When they cut away from this close-up shot, it becomes clear that the baby was probably never even on the Krypton set.

Rockwell and Towne really sell the desperation of the moment.

The baby is not on-hand for the rocket crash scene, as a stunt-sack clearly fills in again. I suppose this was the era before high-definition TVs and pause buttons; if I were watching this on a 12-inch screen via antenna, I probably wouldn't notice the difference. Eventually they do transition to having the baby in the scene.

When twelve-year-old Clark asks why he's different from the other boys, Sarah expresses that she was concerned that he was coming down with the measles. I guess it's nice that that's a relevant concern again.

George Reeves looks very Elvis Presley here.

Angry, shouty Perry White here is pretty clearly a major inspiration for J. Jonah Jameson, and a nice illustration of how, once JJJ exists as the apotheosis of that archetype, Perry is left a little rudderless as a character.

The Rocket: A classic sci-fi rocket, but not much distinctive about it. And it ultimately falls apart like it's made of cardboard. Two exploding Kryptons.

Rocket Trips #7: Superman (vol. 1) #146 - 1961

We're firmly in the Silver Age with this week's entry, "The Complete Story of Superman's Life," which begins much like last week's entry with the claim that "millions want to know" where Superman came from and how he got his amazing abilities. And the title page boasts that some of the facts have been revealed before, but this is the first time that the story has been told in full. So, here's 1961's Superman (vol. 1) #146!

Creative Team: Otto Binder and Al Plastino

All-Star Summary: Doomed planet. Desperate scientist. Last chance. Kindly couple. 

Key Elements: Superman is Earth's mightiest hero, with many amazing abilities. His story starts on the distant world Krypton, which orbits a red sun. Krypton was home to an advanced civilization with futuristic technology, as well as many fantastic creatures. Krypton is beset by damaging quakes, and Jor-El warns the Council of Scientists that these are signs that the planet will soon explode. Jor-El suggests that they build space arks to evacuate the planet, but the Council laughs at him and throws him out. Jor-El conducts experiments with small rockets, ultimately building one large enough for him and his wife Lara to send their baby son Kal-El to Earth. The rocket escapes just as the planet explodes, and the debris turns into radioactive Kryptonite. 

The rocket lands on Earth, and Kal-El is discovered by farmers Jonathan and Martha Kent, a childless couple living near Smallville. They leave the child with an orphanage, but plan to come back to adopt him. At the orphanage, the child displays superhuman strength. The Kents legally adopt him, and name him Clark, after Martha's maiden name. The child demonstrates amazing abilities, and by using the indestructible blankets he was found in, they're able to make clothes that can withstand his powers.

The Kents sell the farm and move to Smallville, where Clark starts school and eventually becomes the teenage superhero Superboy. He keeps his true identity secret, and begins wearing glasses (fashioned from the indestructible remains of his rocket) as a disguise. When neighbor Lana Lang begins to suspect that Clark is Superboy, he takes elaborate steps to protect his dual identity. Eventually he discovers that he came from the planet Krypton, which explains his amazing powers.

Clark grows up and goes to college, but realizes that maintaining a secret identity will require him to pretend to be meek and mild-mannered his whole life.

The Kents die shortly after Clark's graduation from college, but not before Pa instructs him to use his powers for the benefit of humanity. He decides to move to Metropolis, but when Superboy leaves, Smallville comes out to celebrate him. In thanks, Superboy bakes a cake so large that everyone in town can have a slice.

Clark Kent becomes a reporter for the Daily Planet, so he can learn about crimes as they happen. And when they do, he's off to save the world as Superman!

Interesting Deviations: While the story in The Amazing World of Superman mentioned Earth's yellow sun, this is the first origin we've examined that specifically noted the color of Krypton's sun. I'd be interested to know when that bit of lore entered the mythos. Clearly sometime between 1948 and 1961, and I would venture a guess that either Siegel or Binder was behind it.

It's fascinating how the demonstrations of Krypton's advanced civilization have changed over time. Originally it was that they had super powers, in 1948 it was that they could build amazingly fast flying machines, and here it's that they have robotic laborers and that they can remove the pollution from their atmosphere.

Given how Krypton's destruction has become an allegory for ignoring environmental catastrophe, this is an especially interesting element. 

This is the first mention we've had of Krypton's other fauna, in this case a metal-eater kept in a Kryptonian zoo behind glass bars. Ethics of such rudimentary zoos aside, I kind of wish it were a thought-beast instead.

The physics behind Krypton's destruction receive more elaboration here, with Jor-El identifying that the planet's core is made of uranium and that a chain reaction has begun, making Krypton into a "gigantic atomic bomb." Krypton's destruction being used as an allegory for the existential threats facing the contemporary world is, clearly, not a new phenomenon.

The reason for the Council's rejection of Jor-El's predictions has changed considerably from origin to origin, but this one is unique in my experience: the Council possesses a "Cosmic Clock" that predicts disasters, and it says Krypton will be safe.

There's a tendency in these origins to make it seem like Jor-El is a bit of a crank and a doomsayer, but I like that this story pushes in the opposite direction, making the Council look like fanatics, blindly trusting in this mechanical Nostradamus. You can see shades of how Brainiac gets involved in Krypton's destruction in The Animated Series.

It's 1961, and we've met another survivor of Krypton at this point, so we get a panel of Jor-El discussing his theories with his brother Zor-El, and a surprisingly lengthy editor's note linking the exchange to Supergirl's origin.

Also, assuming the Kryptonian calendar is like the American one, Krypton blew up on a Tuesday.

Speaking of 1961, the existence of the Space Race means that Jor-El's methods have come to mirror that of Earth space agencies. We see Krypto here for the first time in an origin story, and a mention that Krypto's rocket isn't the first test flight Jor-El has conducted. Beppo the Super-Monkey was introduced three years earlier.

We've seen in a couple of origins that Kryptonians were familiar with Earth, but here Jor-El discovers it himself. There's no mention here of trying to build it large enough to hold Lara as well. I think this is also the first origin we've looked at where Kal-El was verbal before he was launched into space.

Not only do we see Kryptonite mentioned here, but also the origins of Red Kryptonite.

Unlike most versions of the origin, here Kal-El is thrown from the rocket when it lands, but is unharmed because anything from Krypton is indestructible on Earth. Anyrhing except the rocket, which explodes due to its super-fuel, all of which seems like a pretty tremendous oversight on Jor-El's part. The rocket being destroyed was a frequent element in Golden Age origins, but I'm surprised to see it happening here in the era of "indestructible blankets became the Superboy costume." Though there's enough of it left for the Kents to recognize it as a space ship.

Kal is left on the doorstep of the orphanage under the cover of night. We see some of the classic feats of strength at the orphanage that we've seen before, but here they go unnoticed by the staff. The Kents, on the other hand, start cataloging his powers immediately. Though the sheer number of otherwise life-threatening situations the Kents allow Clark to get into makes them look pretty negligent.

We see the further influence of the popularity of Superboy stories here, as the Kents sell the farm and buy a general store in Smallville before Clark begins school. Clark adopts his Superboy identity after mastering all of his powers except flying, which he eventually conquers with the help of Pa Kent, some weather balloons, and a rope.

The story introduces the super-robots, Clark's secret tunnel out of town and the secret rooms he built in the Kent house, and his reunion with Krypto.

Clark's discovery of his abilities is notable first in that it repeats the justification given all the way back in Action Comics #1, using an ant and a grasshopper as Earth examples of creatures with strength like Superman's, and second in that it distinguishes between the powers he has due to Earth's weaker gravity, and the powers he has due to the yellow sun.

At the end, we get a neat little space-age addition to the old "It's a bird!" exclamation, inserting "a rocket" in there.

Additional Commentary: The issue starts with a brief run-down of Superman's powers and character, which culminates in this neat little panel. I'm always down for Superman, champion of the underdog.

The scenes of Clark leaving Smallville are almost verbatim what we'd see in The Amazing World of Superman, down to people saving their slice of cake and Superman becoming a citizen of the world.

It wouldn’t be entirely surprising that the 1973 origin would hew so closely to this one, except that the last section is really the only place where it does. The biggest deviation is Superman pledging his loyalty to the United States in this version, likely speaking to the greater Cold War tensions in 1961 than 1973.

The Rocket: We'll see variations on this version of this red-and-blue rocket in several origins, and to be honest we see at least a couple of variations (differing mostly in how pointed the nosecone is) in these panels. It's not particularly distinctive, but at least it has those retro fins and the color scheme. Three out of five exploding Kryptons.