Back Issue #62 by TwoMorrows Publishing

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IN THE BRONZE AGE! JULIUS SCHWARTZ SUPERMAN DYNASTY • PRIVATE LIFE OF CURT SWAN • SUPERMAN FAMILY • EARTH-TWO SUPERMAN • WORLD OF KRYPTON • MAN OF TOMORROW • ATOMIC SKULL & more!

THE RETRO COMICS EXPERIENCE!

Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

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(NOW WITH 16 COLOR PAGES!) “Dead Heroes”! JIM (“Death of Captain Marvel”) STARLIN interview, Deadman after Neal Adams, Jason Todd Robin, the death and resurrection of the Flash, Elektra, the many deaths of Aunt May, art by and/or commentary from APARO, BATES, CONWAY, GARCIA-LOPEZ, GEOFF JOHNS, MILLER, WOLFMAN, and a cosmically cool cover by JIM STARLIN!

(NOW WITH 16 COLOR PAGES!) “1970s Time Capsule”! Examines relevance in comics, Planet of the Apes, DC Salutes the Bicentennial, Richard Dragon–Kung-Fu Fighter, FOOM, Amazing World of DC, Fast Willie Jackson, Marvel Comics calendars, art and commentary from ADAMS, BRUNNER, GIORDANO, LARKIN, LEVITZ, MAGGIN, MOENCH, O’NEIL, PLOOG, STERANKO, cover by BUCKLER and BEATTY!

Special 50th Anniversary FULL-COLOR issue ($8.95 price) on “Batman in the Bronze Age!” O’NEIL, ADAMS, and LEVITZ roundtable, praise for “unsung” Batman creators JIM APARO, DAVID V. REED, BOB BROWN, ERNIE CHAN, and JOHN CALNAN, Joker’s Daughter, Batman Family, Nocturna, Dark Knight, art and commentary from BYRNE, COLAN, CONWAY, MOENCH, MILLER, NEWTON, WEIN, and more. APARO cover!

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(NOW WITH 16 COLOR PAGES!) “AllInterview Issue”! Part 2 of an exclusive STEVE ENGLEHART interview (continued from ALTER EGO #103)! “Pro2Pro” interviews between SIMONSON & LARSEN, MOENCH & WEIN, and comics letterers KLEIN & CHIANG. Plus JOHN OSTRANDER, MICHAEL USLAN, and longtime DC color artist ADRIENNE ROY! Cover by Englehart collaborator MARSHALL ROGERS!

Bronze Age Mystery Comics! Interviews with BERNIE WRIGHTSON, SERGIO ARAGONÉS, GERRY TALAOC, DC mystery writer LORE SHOBERG, MARK EVANIER and DAN SPIEGLE discuss Scooby-Doo, Charlton chiller anthologies, Black Orchid, Madame Xanadu art and commentary by TONY DeZUNIGA, MIKE KALUTA, VAL MAYERIK, DAVID MICHELINIE, MATT WAGNER, and a rare cover painting by WRIGHTSON!

“Gods!” Takes an in-depth look at WALTER SIMONSON’s Thor, the Thunder God in the Bronze Age, “Pro2Pro” interview with TOM DeFALCO and RON FRENZ, Hercules: Prince of Power, Moondragon, Three Ways to End the New Gods Saga, exclusive interview with fantasy writer MICHAEL MOORCOCK, art and commentary by GERRY CONWAY, JACK KIRBY, BOB LAYTON, and more, with a swingin’ Thor cover by SIMONSON!

“Liberated Ladies” eyeing female characters that broke barriers in the Bronze Age: Big Barda, Valkyrie, Ms. Marvel, Phoenix, Savage She-Hulk, and the sword-wielding Starfire. Plus a “Pro2Pro” interview with JILL THOMPSON, GAIL SIMONE, and BARBARA KESEL, art and commentary by JOHN BYRNE, GEORGE PEREZ, JACK KIRBY, MIKE VOSBURG, and more, with a new cover by BRUCE TIMM!

“Licensed Comics”! Star Wars, Indiana Jones, Man from Atlantis, DC’s Edgar Rice Burroughs backups (John Carter, Pellucidar, Carson of Venus), Marvel’s Warlord of Mars, and an interview with CAROL SERLING, wife of ROD SERLING. With art and commentary from ANDERSON, BYRNE, CLAREMONT, DORMAN, DUURSEMA, KALUTA, MILLER, OSTRANDER, and more. Cover by BRIAN KOSCHACK.

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“Avengers Assemble!” Writer ROGER STERN’S acclaimed 1980s Avengers run, West Coast Avengers, early Avengers toys, and histories of Hawkeye, Mockingbird, and Wonder Man, with art and commentary from JOHN and SAL BUSCEMA, JOHN BYRNE, BRETT BREEDING, TOM DeFALCO, STEVE ENGLEHART, BOB HALL, AL MILGROM, TOM MORGAN, TOM PALMER, JOE SINNOTT, and more. PÉREZ cover!

JENETTE KAHN interviewed by ROBERT GREENBERGER, DC’s Dollar Comics and unrealized kids’ line (featuring an aborted Sugar and Spike revival), the Wonder Woman Foundation, and the early days of the Vertigo imprint. Exploring the talents of ROSS ANDRU, KAREN BERGER, STEVE BISSETTE, JIM ENGEL, GARTH ENNIS, NEIL GAIMAN, SHELLY MAYER, ALAN MOORE, GRANT MORRISON, and more!

“JLA in the Bronze Age”! The “Satellite Years” of the ‘70s and early ‘80s, with BUCKLER, ENGLEHART, PÉREZ, and WEIN, salute to DICK DILLIN, the Justice League “Detroit” team, with CONWAY, PATTON, McDONNELL, plus CONWAY and GEOFF JOHNS go “Pro2Pro” on writing the JLA, unofficial JLA/Avengers crossovers, and Marvel’s JLA, the Squadron Supreme. Cover by McDONNELL and BILL WRAY!

“Toon Comics!” History of Space Ghost in comics, Comico’s Jonny Quest and Star Blazers, Marvel’s Hanna-Barbera line and Dennis the Menace, behind the scenes at Marvel Productions, Ltd., and a look at the unpublished Plastic Man comic strip. Art/comments by EVANIER, FOGLIO, HEMPEL and WHEATLEY, MARRS, RUDE, TOTH, WILDEY, and more. All-new painted Space Ghost cover by STEVE RUDE!

“Halloween Heroes and Villains”! JEPH LOEB and TIM SALE’s chiller Batman: The Long Halloween, the Scarecrow (both the DC and Marvel versions), Solomon Grundy, Man-Wolf, Lord Pumpkin, Rutland, Vermont’s Halloween parades, and… the Korvac Saga’s Dead Avengers! With commentary from and/or art by CONWAY, GIL KANE, LOPRESTI, MOENCH, PÉREZ, DAVE WENZEL, and more. Cover by TIM SALE!

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Volume 1, Number 62 February 2013 Celebrating the Best Comics of the '70s, '80s,'90s, and Beyond!

Comics’ Bronze Age and Beyond!

EDITOR-IN-CHIEF Michael “Don’t Call Me Chief!” Eury PUBLISHER John “Morgan Edge” Morrow DESIGNER Rich “Superman’s Pal” Fowlks COVER ARTISTS José Luis García-López and Scott Williams COVER COLORIST Glenn “Grew Up in Smallville” Whitmore

PROOFREADER Rob “Cub Reporter” Smentek SPECIAL THANKS Murphy Anderson CapedWonder.com Cary Bates Kurt Busiek Tim Callahan Howard Chaykin Gerry Conway DC Comics Dial B for Blog Tom DeFalco Mark Evanier Chris Franklin José Luis García-López Grand Comic-Book Database Heritage Comics Auctions Alan Kupperberg Paul Kupperberg Christopher Larochelle Paul Levitz Elliot S! Maggin Andy Mangels Nigel McMillan Mike’s Amazing World of DC Comics

Dennis O’Neil Luigi Novi/Wikimedia Commons Jerry Ordway Mike Page Mike Pigott Al Plastino Alex Ross Bob Rozakis Joe Rubinstein Joseph P. Rybandt Philip Schweier Superman Through the Ages Cecilia Swan Swift Roy Thomas Michael Uslan Van-Zee Mark Waid John Wells Len Wein Wikipedia Scott Williams Raúl Wrona Eddy Zeno

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BACK SEAT DRIVER: Editorial by Michael Eury . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 A dedication to the man who made us believe he could fly, Christopher Reeve FLASHBACK: The Julius Schwartz Superman Dynasty . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Looking back at the Super-editor(s) of the Bronze Age, with enough art to fill a Fortress! SUPER SALUTE TO CARY BATES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 SUPER SALUTE TO ELLIOT S! MAGGIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 BACKSTAGE PASS: The Private Life of Curt Swan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Fans, friends, and family revisit the life and career of THE Superman artist FLASHBACK: Superman Calls for Back-up! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 The Man of Steel’s adventures in short stories FLASHBACK: Superman Family Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 An in-depth look at the series that gathered Superman’s pals and gals BRING ON THE BAD GUYS: The Atomic Skull . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Superman’s foe with the “self-destruct mind” BEYOND CAPES: World of Krypton: Comics’ First Miniseries . . . . . . . . . . . . . . . . . . . . . . . .59 This Superman spin-off lucked into a new comic-book format PRINCE STREET NEWS: Kryptonitpicking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Sure, we all love Superman: The Movie, but Karl Heitmueller reminds us it wasn’t a problem-free flick! FLASHBACK: The Supermobile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 Fans have been up in (retractable punching) arms wondering, Which came first: the comic or the toy? FLASHBACK: Golden Steel in the Bronze Age: The Superman of Earth-Two . . . . . . . . . .70 The original Man of Steel’s comeback, marriage, and fate BACK IN PRINT: Superman Collected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 A checklist of Bronze Age Super-stories in reprinted form FLASHBACK: Whatever Happened to the Man of Tomorrow? . . . . . . . . . . . . . . . . . . . . .76 Examining the swan song of the Earth-One Superman and Alan Moore’s powerful tale Note: Our BACK TALK letters column will return next issue! BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Eight-issue subscriptions: $60 US, $85 Canada, $107 International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by José Luis García-López and Scott Williams. Superman and Bizarro TM & © DC Comics. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2013 Michael Eury and TwoMorrows Publishing, except for Prince Street News, © 2013 Karl Heitmueller. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Superman in the Bronze Age Issue

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The backside of the 1986 Superman double-sided poster, drawn by José Luis García-López and Dick Giordano. TM & © DC Comics.

COVER DESIGNER Michael “Last Son of Krypton” Kronenberg

In BACK ISSUE #7’s memorial to actor Christopher Reeve (1952–2004), which appeared on the issue’s back cover, I mentioned that I had attempted to arrange an interview with the man who so brilliantly played the Man of Steel in four movies. But I’ve never told the full story. Until now. In September of 2004, I proposed to TwoMorrows publisher John Morrow that this magazine publish an exclusive interview with Christopher Reeve. I was prepared to fly on my dime from my then-home in Oregon to Reeve’s residence in New York State to conduct the interview. John offered 10% of the proceeds of that BI issue to the Christopher Reeve Foundation (now the Christopher & Dana Reeve Foundation). That charitable organization, with its mission of helping people with spinal-cord injuries, was established in the wake of the 1995 horseback-riding accident which left Reeve a quadriplegic. I also had intended to ask Alex Ross to paint a cover of Reeve as Superman for the issue—something I’ve never even mentioned to Alex (until this editorial, that is). My interview request went through a representative at the Christopher Reeve Foundation, and after an initially encouraging dialogue, on Thursday, October 7, 2004, I received the disappointing news that an interview would not be possible at that time. No further explanation was provided … but very soon, the reason would become clear. Three days later, on Sunday, October 10, 2004, I was heartbroken to discover while watching Headline News that Reeve had died that day. Under any circumstances this would have been sad news, but under these—when I had so recently come close to meeting my hero—it was devastating. But the news of Reeve’s passing that day also proved transformational. I had the honor of being cover-featured on the Sept.–Oct. 2011 edition of Hearing Loss Magazine (see inset), which featured my article, “How My Hearing Loss Made Me a Superhero.” Therein I chronicled my struggles with adult-onset hearing loss and the anger,

Michael Eury

depression, hardships, and isolation that stemmed from it. Baring my soul in print was the toughest thing I’ve ever written. I invite you to read the full article (www.hearingloss.org/content/septemberoctober-2011), but to bring this into context with this issue’s theme, it was Superman who saved me! The day Reeve died, I felt “touched by an angel.” Through Chris Reeve’s indomitable example as an advocate for the disabled and injured, I was inspired to abandon my self-pity and begin seeking ways to better live my life—isn’t that what Reeve himself did, despite his wheelchair and respirator? This led me to join the Hearing Loss Association of America, a nonprofit dedicated to helping people with hearing loss. I’ve since learned communications strategies and have regained my self-confidence, and have discovered the joys of volunteering and community service. And to think, I owe it all to an actor and amazing humanitarian—who was truly a superman. And so as we enter this, the 75th anniversary of the first appearance of Superman in Action Comics #1 (June 1938), this edition of BACK ISSUE is dedicated with the utmost respect and affection to the memory of Christopher Reeve, Superman forever… To learn more about the Christopher & Dana Reeve Foundation and to donate, visit www.christopherreeve.org. To learn more about the Hearing Loss Association of America and to donate, visit www.hearingloss.org.

SUBMISSION GUIDELINES BACK ISSUE is on the lookout for the following comics-related material from the 1970s through the 1990s: • • • • • • •

Unpublished artwork and covers Commissions (color or B&W) and professional-quality specialty drawings 1970s–1990s creator and convention photographs Character designs and model sheets Original art: covers and significant interior pages Little-seen fanzine material Other rarities

If you have any of the above materials, please query the editor via email prior to submission. Art contributors will be acknowledged in print and receive a complimentary copy of the issue.

Since BI is a full-color publication, preference is given to color artwork. Random convention sketches and “quick sketches” that do not reflect an artist’s best work and were not intended for print will no longer be considered for publication.

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BACK ISSUE does not read or consider unsolicited manuscripts. However, we routinely welcome new writers to our magazine, and have done so since day one!

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It’s easy to consider the Bronze Age of Comics to be the Julius Schwartz Age of Superman. After all, DC Comics’ celebrated editor controlled the Man of Steel’s franchise through most of the 1970s and through half of the 1980s, up until the 1986 Superman reboot engineered by writer/artist John Byrne. But you might not be aware that “Julie” Schwartz eased his way into that distinction, and that despite his lauded and deserved reputation, he wasn’t responsible for all of the innovations sometimes attributed to him.

THE BRONZE AGE’S OTHER SUPER-EDITORS

Michael Eury

Sixteen Years of Superman We couldn’t resist creating this tribute cover to Julius Schwartz, concocted and art directed by ye ed and assembled by designer Rich Fowlks! It cannibalizes the cover to Superman Family #164 and various Schwartz-edited Superman images. The main art of Super-Julie is by John Costanza, from a birthday card drawn in the early 1970s (courtesy of Heritage). The Mort Weisinger caricature at the bottom was done by Wayne Boring in 1973. Superman TM & © DC Comics.

Preceding Schwartz as the man behind the Man of Steel was editor Mort Weisinger, who had steered the Superman family’s stories through the entirety of the Silver Age. In the 1960s, Weisinger’s golden touch made Superman DC Comics’ bestseller (except during the TV-inspired Batmania of the mid-’60s). But as the decade was winding down, so was Mort, by some accounts marking time until his retirement. According to DC historian and frequent BACK ISSUE contributor John Wells, “As I understand it, Mort was very tired of the grind by the time he left. Even the art looked tired,” a contention bolstered by the mismatched George Roussos inking Curt Swan on Weisinger’s later Action Comics and Superman issues and Win Mortimer’s unexciting pencils on the Legion of Super-Heroes’ final stories in Adventure Comics. Mort Weisinger retired in 1970 (although he was “im-Mort-alized” in Schwartz’s Superman comics as a bust in Clark Kent’s apartment which Clark would greet with an “Evening, Morty!” each night after work), and DC’s flagship crimefighter’s Super-titles were assigned not solely to Julie Schwartz but instead to a variety of editors. Super-editor #1 was Murray Boltinoff, that DC stalwart who was more reliable than the morning F train. He inherited Action Comics with #393 (Oct. 1970). With routine stories like that issue’s “Superman Meets Super-Houdini,” penned by Leo Dorfman, a carryover from Mort’s stable of creators, one might assume that Boltinoff was merely mopping up inventoried scripts left behind by Weisinger. That was not the case. “Murray started fresh, assigning virtually every script to Leo Dorfman (who also used his ‘Geoff Brown’ pseudonym),” says Wells, who emphasizes that Boltinoff made a major contribution to the Superman titles: crystalizing the “Swanderson” art team. It was Mort who first paired penciler Curt Swan with inker Murphy Anderson, on a trio of Superman family covers released in late July 1969: World’s Finest Comics #187, Action Comics #380, and Adventure Comics #384 (starring Supergirl), all cover-dated Sept. 1969. But it was Murray Boltinoff who reinvigorated Action’s interiors by dumping Roussos and hiring Anderson to delineate Swan, thereby becoming the first editor to employ the Swanderson team inside the comics. (The editor would later further distinguish himself on Action through its back-ups, including untold tales from Clark Kent’s past and a Metamorpho, the Element Man feature, the latter of which we’ll examine in BI #64, our “Back-up Series” issue.) Some two years before Weisinger’s retirement, Boltinoff had already been fishing in Super-waters by assuming the editorship of Superboy with issue #149 (July 1968)—a series that, too, featured an occasional Swan/Anderson cover. While Action eventually landed with Julie with #419, Murray remained the Superboy

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editor for years, being at the helm of the title when the Legion of Super-Heroes—who were unceremoniously dumped from their longtime berth in Adventure after issue #380 and shunted into Action’s back pages—rose, like the proverbial phoenix, from a rotating back-up in Superboy to usurping the Teen of Steel’s very title (a story we’ll save for BACK ISSUE #68, our Bronze Age Legion issue). Another of Weisinger’s titles was also reassigned to Boltinoff: Superman’s Pal, Jimmy Olsen. Murray took the helm with issue #133 (Oct. 1970), but for only three issues. Beginning with #136, Jimmy Olsen was reassigned murray boltinoff to the man who had become its writer and penciler with #133: Jack Kirby, Super-editor #2. “There’s a New Kind of Superman Coming!” trumpeted DC house ads in 1970, and the pulse of that post–Mort defibrillation was comics’ own King. The bombastic Kirby seemed the perfect jolt for the tired blood of the ho-hum Superman line. But instead of unleashing the King unbridled, DC notoriously allowed Jack’s art to be diluted via Al Plastino’s and Murphy Anderson’s facial re-drawings over Kirby’s Superman, Clark Kent, and Jimmy, to rope them into the house style. (John Wells reminds us that, according to E. Nelson Bridwell in Lois Lane #121, this house-style decision was

The Swanderson Team While Mort Weisinger first paired Curt Swan and Murphy Anderson on the three covers below, it was editor Murray Boltinoff—not Julie Schwartz—who assigned them to Superman interior stories, beginning with Murray’s first issue of Action Comics, #393 (Oct. 1970). This original cover art, courtesy of Heritage Comics Auctions (www.ha.com), sold for over $10,000! TM & © DC Comics.

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made by Kirby inker Vince Colletta, not DC management. Nor was Kirby singled out: Murphy Anderson was asked to do the same thing with the Superman heads in Lois Lane stories during this period, which were penciled by Werner Roth and inked by—coincidentally—Vinnie himself! This practice actually dated back to the 1960s: “Mort Weisinger occasionally had Kurt Schaffenberger ink Lois Lane’s and Lana Lang’s faces in stories drawn by Curt Swan or Wayne Boring,” says Wells. Even the great Nick Cardy, who drew the lion’s share of DC’s covers from the early to mid-1970s, didn’t escape a Super-patch: Witness his cover to Superman #264, where Murphy Anderson redrew the Man of Steel’s face.) Artistic “plastic surgery” notwithstanding, it was in Jimmy Olsen that Kirby ignited his sizzling Fourth World concept and introduced DC’s most terrifying villain, Darkseid. Super-editor #3 was E. Nelson Bridwell, DC’s human encyclopedia, who had toiled under (and purportedly been badgered by) Weisinger for years as his assistant editor and packager of Superman family reprints in DC Giants. ENB picked up Superman’s Girl Friend, Lois Lane with #105 (Oct. 1970). Having been joined at Mort’s hip for years, one might have expected Nelson to toe an invisible line for his former boss, but in his first issue of Lois Lane, Bridwell trotted out one of the most intriguing back-ups of the era, writer Robert Kanigher’s “Rose and the Thorn” (which will also be featured in BI #64). Bridwell also provided a backdoor for Kirby’s concepts to connect with the larger Superman continuity. Assisting both

Iconic Image Perhaps second only to Action Comics #1 as the most recognizable Superman cover of all time is this dynamic masterpiece by the pharaoh of photorealism, Neal Adams, drawn for Julie Schwartz’s first issue of Superman, #233 (Jan. 1971). TM & © DC Comics.

SUPER-EGO best of his tormentor via a secret use of his superpowers. How big was Steve’s head? This panel from Superman #269 (Nov. 1973), showing a museum trophy, not-sosubtly answers that question. Maybe we should give the jerk a break, though—after all, he does have a famous aunt, Kaye Daye of the Gotham City Mystery Analysts (as revealed in Superman #277). Lombard continued to pester Kent off and on throughout the Schwartz era. After the 1986 Superman reboot, he returned in 1990 for occasional appearances … and like a trick knee, has a tendency to pop up when you least expect it to create a pain in Clark Kent’s life.

All images TM & © DC Comics.

Despite his altruism, the Man of Steel could, at times, be a bit full of himself—but no ego in Bronze Age Superman comics topped that of Steve Lombard, Alpha Male Supreme! The former quarterback for the Metropolis Meteors, the blowhard Lombard, created by Cary Bates and Curt Swan, debuted in Superman #264 (June 1973) as a TV sportscaster. A recurring bit through Schwartz-edited Superman comics featured Lombard pranking the mildmannered “Clarkie” Kent—but our hero always got the

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A Kingly Superman Here’s how Jack Kirby’s Man of Steel would have looked without the Al Plastino or Murphy Anderson facial patches— although it looks like Plastino redid Superman’s chestplate. Kirby, inked by Mike Royer, produced this puzzle illustration in 1971 for Mattel’s Superman in Secret Picture Game. Courtesy of Heritage. Superman TM & © DC Comics.

Schwartz and Kirby, ENB “proofread Jack’s books and in Adventure Comics. “Big Mike” provided a fresh take on prepared them for publication, thus making him uniquely Supergirl, updating her appearance, her career, her love life, aware of what was going on in the Fourth World and her wardrobe, cramming the Maid of Might’s closet books,” reveals Wells. Nelson worked some of Kirby’s with more fashions than all the Kardashians combined. subplots into his own Lois Lane. Super-editor #5 was the one who (An ENB aside: John Wells would soon inherit the key to the theorizes that Bridwell may have Fortress: Julie Schwartz. Schwartz commissioned and ghosttook over World’s Finest Comics edited the last Superman from Weisinger, further living two-parter attributed to his up to the “New Kind of fatigued boss, an adventure by Superman” hoopla by booting Cary Bates in Superman #230–231 out Batman as the series’ regular that flopped the mythos’ most co-star and making the title famous good-versus-evil dynamic by Superman’s version of The Brave and featuring “Killer Kent” battling “Superthe Bold. Beginning with Julie’s first Luthor.” Says Wells, “The issue certainly issue, World’s Finest #198 (Nov. 1970), looks like it was edited by someone the Man of Steel teamed with heroes who cared since Dan Adkins [instead other than the Darknight Detective, jack kirby of George Roussos] was assigned to ink with a Flash two-parter first out of the Swan, with great results!” John adds, gate; Robin, Green Lantern, Aquaman, “You could make the case that Bridwell and others were on the Scarlet might have also shadow-edited the last pre–Boltinoff Speedster’s heels as Superman co-stars. Batman never Action two-parter—with the Super-Sons—since the strayed too far from the series, though—he guest-starred art there was perkier, too, via Ross Andru and Mike in #198 and teamed with Superman every few issues. Esposito, whom Bridwell used on his early Lois Lanes.”) Curiously, amid all of these changes to the Superman Super-editor #4 was Mike Sekowsky, virtually a one- line, the last new piece of the post–Mort puzzle was man show as the writer/penciler/editor of Supergirl’s series the one most commonly regarded as its starting point. Schwartz took charge of the Man of Steel’s titular series

Quest for Peace Swanderson’s Superman flashes the peace sign in this 1971 poster that was advertised in DC’s titles. Superman TM & © DC Comics.

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DC’s Other Sandman (below) Among the elements introduced by writer O’Neil was the Sand-Superman, created in issue #233 in the aftermath of the explosion of Professor Bolden’s Kryptonite Engine. Sand-Supes is seen here on the printer’s color guide for #238’s cover, by Carmine Infantino and Murphy Anderson. TM & © DC Comics.

Tasty-K, a New Kryptonite Variation? (above left) This famous page from Superman #233 (by O’Neil, Swan, and Anderson) features the Man of Tomorrow dumbfounding a thug by taking a bite out of kryptonite! (above right) That scene was probably inspired by this sequence in “The Secret of Kryptonite!” from Superman #136 (Apr. 1960), a flashback tale from Jerry Coleman and Al Plastino explaining how Superboy discovered his vulnerability. Here, the Boy of Steel chomps into bogus-K to steer crooks away from the truth about kryptonite. E. Nelson Bridwell is said to have sent writer Denny O’Neil material from earlier issues about kryptonite, including this story. Special thanks to John Wells for the info and the scan. TM & © DC Comics.

with Superman #233 (Jan. 1971), featuring one of the hero’s most iconic covers ever, the Neal Adams-drawn, pecs-pulsating, K-chains-shattering “Kryptonite Nevermore!” Schwartz’s oft-proved knack for character revamps made him Superman’s editorial standard bearer with #233: It was here that Earth’s kryptonite was (temporarily) destroyed, Clark Kent was modernized both sartorially (mothballing the navy-blue suit) and professionally (by becoming a television newsman), and Superman’s powers were downgraded (at the request of new Super-scribe Denny O’Neil). (Let’s not forget that Weisinger and Dorfman tried to make a “tiger” out of timid Clark Kent two years earlier in Superman #210, Oct. 1968, a half-hearted attempt that went no further than that issue.) With Superman #233 packing that much excitement, it’s no wonder that some fans didn’t discover the Swan/Anderson team—which Julie signed onto Superman’s interiors with his first issue—until then, when in fact they’d been collaborating on Super-art for many months.

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Comics You Can Sink Your Teeth Into (left) From Dorothy Woolfolk’s short-lived, same ol’-same ol’ editorship of Lois Lane, artist Bob Oksner’s cover for #127 (Oct. 1972) features a toothy terror three years before Steven Spielberg’s Jaws. This was a DC Super Pac, a three-issue bundle that’s extremely rare in the collectors’ market. (middle) Not long after Spielberg’s 1975 film, DC couldn’t resist diving into Jaws-infested waters with this Mike Grelldrawn cover for Action #456 (Feb. 1976). (right) Mike Sekowsky’s Supergirl, as seen in Adventure #407 (June 1971). TM & © DC Comics.

Joe Orlando replaced Mike Sekowsky as editor of SUPER-IDENTITY CRISIS Having this many cooks in the Adventure Comics, and before long that title’s star, Super-kitchen sometimes soured the Supergirl, zipped into her own title, with Adventure recipe. Plots introduced in book A becoming an offbeat anthology. Orlando also claimed might affect book B, but with little Jimmy Olsen from Jack Kirby once the King went on to or no coordination among editors glitches were create new DC series such as The Demon and Kamandi, the Last Boy on Earth. bound to occur. Romance comics editor Dorothy Woolfook became For example, Morgan Edge, known to readers of Schwartz’s Superman as Clark Kent’s boss at the Galaxy the new Lois Lane editor with #121 (Apr. 1972) in an Broadcasting System, was characterized by Kirby to be effort to align that series more with female readers. heading the crime cartel Intergang. How could this She also launched Supergirl’s solo series, which started be reconciled? Were Edge convicted of his crimes or with a Nov. 1972 cover date. Woolfolk was replaced by editor Robert Kanigher otherwise eliminated, a prison (or death) sentence would remove a vital cast member from Superman. Luckily, after seven issues of Lois Lane and only one of Supergirl. Kanigher remained on board through Nelson Bridwell—a stickler for the end of Lois Lane’s and Supergirl’s details large and small—assisting runs, which concluded with issues both Julie and Jack, helped #137 and #10, respectively. smooth out some problems The editorial shakeups as a liaison. “Kirby, of 1972 did not end there: according to Lois Lane Toward the year’s end, Murray #122’s letters column, tossed Boltinoff took over Jimmy Olsen out the possibility of there being with #154 from Orlando, riding two Edges, one of them a clone out that title even after it became from the Evil Factory,” says John Superman Family (see related article), Wells. “Julie worked the subplot into a and traded with Schwartz World’s few issues of Superman while Bridwell Finest for Action. The fanzine The allowed it to flower in Lois Lane.” Comic Reader reported at the time And not all of the Super-editors e. nelson bridwell that the Action/WFC swap was “a were well versed in the Man of move to solidify the continuity of the Steel’s mythos. Adventure Comics #400’s Superman stories.” In World’s Finest Supergirl tale by Mike Sekowsky #215, new editor Boltinoff introduced one of the featured major continuity gaffes, including villainess the Black Flame flying in a spaceship to the Bronze Age’s most infamous—but to many, warmly Phantom Zone “planet” and the writer/artist’s misunder- remembered—concepts, the Sons of Superman and standing of the properties of Gold Kryptonite. Those bla- Batman, courtesy of the typewriter of continuity-blind tant disregards of Superman’s continuity prompted writer Bob Haney. Haney and Boltinoff staunchly Bridwell to step in with Adventure #405 onward to contended that their Superman, Jr. and Batman, Jr. were a part of continuity (unlike the aforementioned proofread Sekowsky’s Supergirl scripts. With this many floating variables, however, it came Super-Sons, who appeared in Imaginary Stories), just as no surprise that within a few years, the majority of the an aspect of the heroes’ lives we hadn’t yet discovered! Superman titles had found their way onto Schwartz’s As ludicrous as this may sound to the contemporary desk—but before that happened, there were other reader, DC fans of the day bought it—did they ever, blips along the way. In 1972, three other editors briefly since World’s Finest’s sales spiked much higher than took up residence in Metropolis and its related environs. they’d been with Schwartz’s Superman team-ups.

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“Julie was a story guy,” says writer Len Wein of the Superman editor. ed in doing Superman,” according to the editor’s longtime friend The importance of the story—the plot—was what Julie was known for. and colleague, artist Murphy Anderson. “Julie and Mort had started “Julie didn’t ‘assign’ stories the way Mort did,” adds Cary Bates. “The out together as [sci-fi] fans. They had a fan club, and after that opened storylines would most often arise out of a plotting session between the a business together, a literary agency that represented mostly maineditor and writer right there in the room.” stream writers in science fiction.” And thus That story-plotting became Schwartz’s tradeAnderson believes that Schwartz was reluctant to mark: His writers knew that was the editor’s assume the former Weisinger territory. formula, and even the fans were aware of SUPERMAN IN THE 1970s it, thanks to DC’s own fanzine, The So, was DC’s “New Kind of Superman” Amazing World of DC Comics. If anyone hype legitimate? Yes and no. could helm a consistent characterization of Schwartz and O’Neil took risks with the charSuperman, Julie Schwartz was the guy! acter—“an experiment,” as they called it—in One wonders, then, why didn’t DC editorithe pages of Superman, some of which are al director Carmine Infantino assign the entire detailed by Swan biographer Eddy Zeno in this Superman franchise to Schwartz when Weisinger issue’s article “The Private Life of Curt Swan.” announced his retirement? Despite its cosmetic patchwork, Kirby’s Man of For one, Julie’s editorial plate was already quite full. Steel in Jimmy Olsen looked unlike any previous With O’Neil, Frank Robbins, Neal Adams, and others, mike sekowsky incarnation of the hero and bristled with his Batman and Detective Comics had recently Marvel–like energy. returned the once-campy Caped Crusader to his Bridwell’s Superman in Lois Lane remained his creature-of-the-night roots, and his Green familiar, chauvinistic, somewhat stodgy self—it was Lantern/Green Arrow series—also boasting the “Superman’s Girl Friend” who was of a “new kind,” develfan-favorite O’Neil/Adams combo—was in its oping a socialconscience that mirrored the nation’s infancy. Add to that Julie’s beloved The Flash emerging waves of feminism and civil rights. and Strange Adventures, the latter of which And Boltinoff’s Superman? “Julie’s Superman was different had become a reprint anthology, and it’s from Murray’s,” says Denny O’Neil of Boltinoff’s Action Comics. clear that the editor was a very busy man Leo Dorfman continued to pen the familiar type of Silver Ageonce the anemic World’s Finest and Superman were stretchered into Doc Julie’s office. Additionally, at first Schwartz resisted becoming THE Superman editor, as weird as that may sound to fans for whom the names Julie Schwartz and Superman are interchangeable. Schwartz “wasn’t too interest-

Community of Chests (above) Writer Cary Bates patterned his Superman friend/foe Vartox after Sean Connery in the 1974 sci-fi film Zardoz. (right) Original art by Nick Cardy to Vartox’s first appearance in Superman #281 (Nov. 1974), courtesy of Heritage. (inset) Amanda Conner revisited Cardy’s cover for Power Girl #7 (Feb. 2010). Zardoz © 1974 20th Century Fox. Superman, Vartox, and Power Girl TM & © DC Comics.

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ish tales for Murray’s Action that he did for Mort’s (although credit must be given to the writer for his two-parter in Action Comics #401–402, June–July 1971, where he tapped into DC’s nascent trend of social relevance with his story involving Native Americans’ land-reclamation struggles). Murray’s Superboy, however, started out with great promise. Under the creative guidance of writer Frank Robbins, the post–Weisinger Superboy added a pervading sense of menace to its small-town setting: there was a “Stranger” who stalked Smallville, Lana Lang was pronounced D.O.A. (on a gripping Neal Adams cover, at least), Superboy’s heat vision went out of control, Superboy’s robots attacked the Boy of Steel, and Superboy and Aquaboy (a teenaged Aquaman) joined forces to tackle oil spills and sea pollution. But when Leo Dorfman took over the series’ scripting with Superboy #173 (Apr. 1971), it almost seemed like Mort Weisinger was wielding his blue pencil and red pen again, with old-style stories returning—including cutesy Superbaby misadventures. It wasn’t until the Legion of SuperHeroes’ resurgence at the hands of writer Cary Bates and artist Dave Cockrum that Boltinoff’s Superboy title felt contemporary once again. On Jimmy Olsen, which Boltinoff inherited from the post–Kirby Orlando, Murray shook up the status quo, leaving behind the wacky Olsen transformations of the

Add “Super-Typing” to His List of Attributes (top left) Sometimes, it was the little moments that made the Schwartz Superman era special, such as this sequence in Cary Bates’ story from Action #438 (Aug. 1974) where a distracted Clark Kent melts a typewriter by typing at superspeed! Art by Curt Swan and Bob Oksner. Original art courtesy of Heritage. (bottom left) Cary and Julie in a 1978 plotting session. Photo courtesy of Dial B for Blog. (above) Julie Schwartz, Superman: The Movie star Christopher Reeve, and Todd Klein, circa 1978. Photo courtesy of Heritage. TM & © DC Comics.

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Silver Age for harder-hitting tales, with Jimmy as the troubleshooting “Mr. Action.” For the first few years of the 1970s, there were two “new kinds” of Superman, two “new kinds” of Jimmy Olsen, a “new kind” of both Lois Lane and Supergirl, and two “old kinds” of Superman! A Superman for every demographic, perhaps, but such multiple treatments made character consistency as vague as a Phantom Zone villain. Through full-length, back-up, and special-event stories, virtually every imaginable aspect of the lives and worlds of Superman and his cast were explored on Schwartz’s watch. By the mid-’70s, editorial reassignments had placed both Superman and Action on Julie’s desk. Kirby had returned to Marvel and the Superman supporting cast had blended into one title. While Schwartz never emerged as the Last Man (of Steel) Standing—other editors continued to oversee Superman-related titles, such as Jack C. Harris on World’s Finest— his editorial steadiness on what became a monthly trio of series (with DC Comics Presents being added in 1978) stabilized the Metropolis

Creators of Superman (below) The Metropolis Marvel hoists up his real parents, writer Jerry Siegel and artist Joe Shuster, in this illo by Neal Adams, courtesy of CapedWonder.com. Adams was one of several artists fundamental in encouraging DC Comics to provide a creators’ and compensation package for Siegel and Shuster beginning in the late 1970s. Superman TM & © DC Comics.

Glasses Make the Man Superman #330 (Dec. 1978, cover by Ross Andru and Dick Giordano) was significant for more than its appearance of Batman bad guy Spellbinder: It finally explained—thanks to the cleverness of writer Martin Pasko (based upon an idea by Al Schroeder III)—how a mere pair of eyeglasses could disguise Superman as Clark Kent, particularly since the hero and reporter ran with the same crowd. Pasko’s “The Master Mesmerizer of Metropolis!” revealed that the lenses of Clark’s glasses, made from the rocketship that brought baby Kal-El to Earth from Krypton, actually emitted a subconscious command convincing those near Clark that he was actually a shorter, slightly balding, mousey fellow—the sort of guy loudmouths like Steve Lombard might push around. While it sounds far-fetched, hey, if you could believe a man can fly, why not this explanation? It didn’t stick at DC, though, and the idea was ignored in future stories. TM & © DC Comics.

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In a Great Metropolitan Newspaper… Superman: The Movie in 1978 sparked a wave of Superman merchandising and licensing, including the Action Ace’s return to syndication as a newspaper comic strip in The World’s Greatest Superheroes. (top) The Sunday strip for June 17, 1979, featuring the Prankster. By Martin Pasko, George Tuska, and Vince Colletta. Writer Paul Kupperberg later enjoyed a stint on the strip. (bottom) “Answer Man” (and puzzle master) Bob Rozakis would occasionally share trivia and puzzles in the strip’s “Superman Sunday Special.” This edition, published July 3, 1983 and drawn by artists Jose Delbo and Sal Trapani, spotlights our cover villain, Bizarro. Original art courtesy of Heritage. TM & © DC Comics.

Marvel through one of the character’s most exciting decades ever. And what a decade it was! Some Schwartz Dynasty Superhighlights of the 1970s: • fresh new voices like Denny O’Neil, Len Wein, Elliot S! Maggin, Gerry Conway, and Martin Pasko joining Cary Bates as Superman writers; • unforgettable Neal Adams and Nick Cardy covers; • lots of wonderful Swanderson art!; • Superman back-up series offering insights into Krypton, Clark Kent’s private life, and the lives of supporting cast members; • Action Comics’ exciting non-Superman back-ups, including the Human Target and Green Arrow/Black Canary; • Superman/Captain Marvel clashes (at last!), beginning with the Man of Steel’s smackdown with “Captain Thunder” in Superman #276; • José Luis García-López’s all-too-brief stint as the Superman artist; • new villains including the Galactic Golem (Superman #248), Terra-Man (Superman #249), Blackrock (Action #458), and the Atomic Skull (Superman #323); • the revitalization of the Toyman (Action #432), Bizarro (Superman #306), and Metallo (Superman #310), and the return of Titano the Super-Ape (Superman #324); • Gerry Conway’s addition of Solomon Grundy to Superman’s rogues’ gallery (Superman #301); • new supporting cast members and concepts, including manipulative media mogul Morgan Edge, Clark Kent foil Steve Lombard, Rona Barrett-inspired gossip journalist Lola Barnett, and DC’s omnipresent science facility, S.T.A.R. Labs;

Man of Tomorrow The Schwartz-edited Superman stint illustrated by José Luis García-López, which began in issue #301, ended much to soon for most fans. Here’s a lesser-seen piece by José, (below) the back cover to Famous First Edition #C-61 (Mar. 1979), depicting a futuristic Metropolis Marvel. That FFE issue reprinted Superman #1. TM & © DC Comics.

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An Anniversary Issue to Remember (right inset) Action Comics #500 (Oct. 1979)— which was conceived as a tabloid-sized All-New Collectors’ Edition before that format went kablooey—featured this nifty infinity cover by Ross Andru and Dick Giordano and presented Superman’s life story from the team of Pasko, Swan, and Chiaramonte. (right) This original page, from the Heritage Comics archives, reveals how the Boy of Steel perfected his Clark Kent disguise. (below) Eagle-eyed readers noticed that the logo of Superman #386 (Aug. 1983) featured minor stylistic alterations, mainly a rounding of some of the letters. (bottom) It replaced this longrunning version, which had been in a staple of the magazine since 1940’s issue #6. TM & © DC Comics.

• the introduction of a super-rival, the barrel-chested, Sean Connery-inspired Vartox (Superman #281); • Superman returning to Saturday morning television as one of the stars of the long-running Super Friends franchise; • a wave of Superman merchandising, including the perennial collected edition Superman from the Thirties to the Seventies (and later …Eighties), the popular Mego Superman action figure, and Superman Power Records; • classic Super-tales being issued in a variety of formats; • super-sized battles (team-ups, actually) with Spider-Man, Muhammad Ali, Wonder Woman, and Captain Marvel in tabloid special editions; • the reintroduction of the Golden Age (Earth-Two) Superman; • Superman: The Movie revolutionizing the comic-book motion picture; • the introduction of comics’ first miniseries, World of Krypton; • the team-up title DC Comics Presents joining the lineup; • Superman returning to newspaper syndication in the World’s Greatest Superheroes comic strip; • the Bottle City of Kandor’s enlargement (Superman #338); • Martin Pasko’s spectacular “The Life Story of Superman” (Action #500); and • the decade’s most significant achievement, creator credit and financial compensation afforded by DC to Superman creators Jerry Siegel and Joe Shuster. What a great time to be a Superman fan! Superman in the Bronze Age Issue

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SUPERMAN IN THE 1980s

Anniversary Blockbuster

Schwartz-edited Superman tales of the 1980s remained tightly plotted and nicely illustrated, with Bob Rozakis, Paul Kupperberg, Eduardo Barreto, Alex Saviuk, and Howard Bender among the talents joining the fold. The decade witnessed some Super-milestones during Schwartz’s day, including: • the engrossing Phantom Zone miniseries by Steve Gerber and Gene Colan; • a new wave of Superman back-up series, including “Bruce (Superman) Wayne” and “Superman: The In-Between Years”; • fun non-Superman back-ups such as the Atom and Air Wave in Action and “Whatever Happened To…?” in DC Comics Presents; • overhauls of Lex Luthor and Brainiac; • a brilliant Action run by Marv Wolfman and Gil Kane; • Keith Giffen’s introduction of the utterly insane Ambush Bug in Action; • three more Superman movies starring the pitchperfect Christopher Reeve, who shone as the Metropolis Marvel despite the deterioration of the films’ quality (Note: Superman IV: The Quest for Peace was released in 1987, the year after Schwartz’s editorship ended); • Schwartz-edited Superman comics for the European market; • Superman #400, featuring a who’s who of comics talents including a pre–reboot John Byrne, Jack Davis, Steve Ditko, Will Eisner, Frank Miller, Moebius, Joe Orlando, Leonard Starr, Steranko, Al Williamson, and Bernie Wrightson, as well as Julie’s old sci-fi friend, author Ray Bradbury;

A feather in Julie’s editorial cap was Superman #400 (Oct. 1984), featuring this gorgeous painted cover by Howard Chaykin. Schwartz assembled an all-star lineup for the anniversary edition— just look at that talent roster on the cover!— including his sci-fi crony, Ray Bradbury, as well as comics pros not normally associated with Superman: Steve Ditko, Moebius, and Steranko. TM & © DC Comics.

CLONING SUPERMAN If you think Marvel’s Amazing Spider-Man cornered the market on superhero cloning in the 1970s, think again! Martin Pasko’s anniversary tale “The Life Story of Superman” in Action Comics #500 (Oct. 1979) featured Lex Luthor home-growing his own Boy, then Man, of Steel from a skin-tissue specimen. You’re probably aware that the idea was revisited in the 1990s with Superboy in the wake of “The Death of Superman,” but let’s not forget that the maligned movie Superman IV of 1987

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featured Luthor (Gene Hackman) creating his own private Superman in Nuclear Man. Actually, there were two Nuclear Men: the first, a Bizarro-ish dumbo whose scenes were cut from the picture, and the beefy, gold-and-black costumed mullet-man who went head-to-head with the Big Red “S” in the theatrical release.

GerMan of Steel

• the introduction of Superboy-Prime, who would later become a major menace in the DC Universe; and • Superman stories written by British import Alan Moore. Julie Schwartz “was able to maintain an overall continuity and consistency throughout his 16-year tenure on the Superman books despite the fact that he was granting lots of creative freedom to a number of writers with much disparate styles,” attests Cary Bates. That wasn’t always easy. Schwartz’s “creative freedom” forged sometimes minor, sometimes seismic shifts in the series’ mythology and methodology. The depowering of the Action Ace that occurred in Superman #233 was simply forgotten about before long, as if it hadn’t happened, with Superman back to planet-pushing strength. Clark Kent shed his GQ styles for his reliable navy suit—a closet full of them, in fact!—and ultimately signed off the airwaves to return to his Daily Planet desk. While Curt Swan was a consistent presence on the Superman books for decades, in the mid-’70s an effort was made to portray Superman in the Neal Adams style, with José Luis García-López and later, Rich Buckler, signing on to draw Superman adventures. Throughout the Schwartz era, the books shifted back and forth between subplot-rich stories (from O’Neil, Conway, Pasko, and Wolfman) to selfcontained adventures. In 1983, as the Metropolis Marvel approached his 45th anniversary, comics were maturing in subject matter and darkening in tone. Schwartz-edited Superman tales became too predictable for the reader who was now primed for soap-opera character arcs and grim-and-gritty violence. Aside from the hit series The New Teen Titans and The Legion of SuperHeroes, DC’s entire line was perceived as your father’s comic universe.

(left) In the mid-1980s, Schwartz edited Superman comic books produced by DC for the German and European comics market for a company called Ehapa (or Egmont Ehapa). Alex Saviuk, one of his main Super-artists of the day, produced much of that work, including this original page (which Alex signed); we believe the inker to be Dave Hunt but invite BI readers to correct this credit if we’re wrong! Art courtesy of Heritage Comics Auctions. (right) While Schwartz’s Superfranchise was slowly running out of steam in the 1980s, one of the joys of that era was seeing Gil Kane render the Man of Steel, both

This prompted yet another updating of Superman, one that Schwartz found his most difficult. In Action Comics #544 (June 1983), writers Marv Wolfman and Cary Bates helped overhaul the series’ tone as well as archfoes Luthor and Brainiac. “DC had Joe Kubert work with Curt Swan to affect a more dynamic layout style more in keeping with the present-day trends,” explains John Wells. “Julie was kind of in a no-win situation on that revamp, which included Superman being duped by seemingly innocent businessman Vandal Savage and looked upon suspiciously by the general public. That may have been a trendy angle to take, but it felt wrong for the character. (Then-fan Mark Waid wrote a wonderful essay on that subject in The Comic Reader.) Longtime fans protested, younger fans didn’t appreciably sample the new approach, and Julie—metaphorically throwing up his hands—started running the most overtly Weisinger–like Superman stories of his entire tenure for lack of any other options.” That is how Schwartz’s editorship of Superman ended, by producing stories not unlike those he was assigned to help us forget … although Julie certainly went out with a bang, winding down with the Alan Moore-authored “Whatever Happened to the Man of Tomorrow?”

in interior stories with writer Marv Wolfman and for other creators’ stories like this one, from Action #547 (Sept. 1983). Galactic bad guy the Planeteer was the brainchild of writers Bob Rozakis and Paul Kupperberg and was originally conceived for the German comics market for publisher Ehapa. Original cover art, signed by Kane, courtesy of Heritage.

FROM SUPER-EDITOR TO GOODWILL AMBASSADOR In 1985, as part of the celebration of DC Comics’ 50th anniversary, editor Len Wein, writer Marv Wolfman, and artist George Pérez shook up the DC Universe in the groundbreaking maxiseries Crisis on Infinite Earths, streamlining the company’s supposedly confusing (to some, but never to me!) multiple worlds into one. As an exclamation point to the mega-event, two characters borne in the dawn of the Silver Age—Supergirl and the Flash—were killed. Enter John Byrne on Superman… Superman in the Bronze Age Issue

TM & © DC Comics.

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SUPERMAN IN THE LATE 1980s Post–Schwartz, Super-milestones of the late 1980s include: • the John Byrne Superman revamp of 1986, starting

Superman TM & © DC Comics.

with the Man of Steel miniseries; • a new series of Superman team-ups in Byrne’s Action Comics; • the conversion of Lex Luthor into a corporate criminal; • Jerry Ordway’s jaw-dropping art on Adventures of Superman; • new supporting cast members including sultry Cat

Grant and Superman’s “fav-rit” fan, Bibbo; • the “Pocket Universe” Superboy saga in Legion of Super-Heroes; • the celebration of Superman’s 50th anniversary— including a Time magazine cover!—in 1988; and • Marv Wolfman (and character designer Gil Kane) spearheading a short-lived but impressive Superman TV cartoon in 1988. (BACK ISSUE will eventually go behind-the scenes of the Superman reboot of ’86.)

The Julie-Era Superman Lives On (right) This cardboard standee was displayed in comics shops in 1986 to market John Byrne’s (and Marv Wolfman and Jerry Ordway’s) new Superman—but interestingly, it featured the “old” Man of Steel as rendered by José Luis García-López, Julius Schwartz’s former Superman penciler, who had become the chief artist of DC’s merchandising style guides (which he continues to do to this day). (below) DC diehards—and staffers—loved Superman #411 (Sept. 1985), a special issue guest- starring Julie Schwartz and produced without the editor’s knowledge to commemorate his birthday. (Of course, Julie was ticked off that the chief conspirator, production guru Bob Rozakis, interrupted a two-parter to squeeze in this secret story!) Cover by Dick Giordano.

TM & © DC Comics.

…and exit Julius Schwartz. Actually, that lovable curmudgeon never left the building—Julie stayed around, like everyone who had grown fond of him hoped he would, as DC’s goodwill ambassador, visiting the office each Wednesday and making convention appearances. The plot of 1992’s Ambush Bug Nothing Special, which I edited, featured Irwin Schwab (the Bug’s real name) being jealous of Julie’s cushy “goodwill ambassador for life” status and time-traveling into the future to find an era when Schwartz was no longer alive to hold that role. Irwin was bugged to find Julie everywhere, even alongside the Legion of Super-Heroes a millennium later! The real-life Julius Schwartz finally did say goodbye, passing away on February 8, 2004. But Julie certainly hasn’t faded away. Much of his work— on Superman and throughout the DC line—has gained permanence through reprintings. And here we are, almost a decade after his death and 27 years after he edited his last Superman story, looking back at his work. Like Irwin Schwab, we’ve discovered that the legend of Julius Schwartz is almost as enduring as the legend of Superman— and BACK ISSUE is privileged to help keep the Schwartz Superman dynasty alive. BACK ISSUE editor-in-chief MICHAEL (Myk-El) EURY also produced TwoMorrows’ 2006 book The Krypton Companion, surveying Superman comic books of 1958–1986. Creator quotes in this editorial were taken from that source. Special thanks to John Wells for fact checking and additional insights.

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cary bates

CARY BATES broke into comics as a teenager after his over-thetransom Superman cover ideas caught the eye of editor Mort Weisinger, starting with the Brainiac/Luthor team in SUPERMAN #167 (Feb. 1964). By 1967, Weisinger was buying Bates’ scripts for various Superman family titles, beginning the writer’s long association with DC Comics. After Weisinger’s retirement, Cary continued writing Superman stories for editors Murray Boltinoff and Julius Schwartz; he stayed in Schwartz’s stable through the editor’s 16-year stint and submitted a proposal for the 1986 Superman reboot. Bates, renowned for his tight plots, is also noted for his long runs on THE FLASH and CAPTAIN ATOM and for his DC creation SILVERBLADE; for being a villain in JUSTICE LEAGUE OF AMERICA #123; and for scripts and story consultations for the TV series SUPERBOY.

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CARY BATES’ SUPER-CONTRIBUTIONS! Captain Strong (DC’s version of Popeye), Gregory Reed (Superman actor and tribute to George Reeves), 1970s revitalization of the Legion of Super-Heroes, Luthor’s 1983 revamp, Mr. and Mrs. Superman, Nova (Silver Age alter ego for a non-powered Superman), Steve Lombard, the Supermobile, Terra-Man, Toyman II, Vartox

CARY BATES TRIVIA! Cary wrote (on spec) a James Bond movie treatment in 1972, using the title Moonraker.

CARY BATES SUPERMAN FAMILY CHECKLIST!

1. “Super-Brother Against SuperBrother!” SUPERMAN #200 (Oct. 1967) 2. “The Has-Been Superman” and “Superman’s Perfect Crime!” WORLD’S FINEST COMICS #178 (Oct. 1967) and 180 (Nov. 1968) 3. “The Challenge of Terra-Man” SUPERMAN #249 (Mar. 1972) 4. “Superman vs. Super-Star!” ACTION COMICS #414 (July 1972) 5. “The Most Dangerous Man on Earth!” ACTION COMICS #419 (Dec. 1972) 6. “Slave of Star Sapphire” SUPERMAN #261 (Feb. 1973) 7. “The Fantastic Feats of Captain Strong!” ACTION COMICS #421 (Feb. 1973) 8. “Target of the Toymen!” ACTION COMICS #432 (Feb. 1974) 9. “Mystery Mission to Metropolis!” (first Vartox) SUPERMAN #281 (Nov. 1974) 10. “Superman’s Mystery Masquerade” SUPERMAN #283 (Jan. 1975) 11. “The Secret Guardian of Smallville” SUPERMAN #284 (Feb. 1975) 12. “Who Took the Super Out of Superman?” (with Elliot S! Maggin) SUPERMAN #296 (Feb. 1976) 13. “Clark Kent Forever - Superman Never!” (with Elliot S! Maggin) SUPERMAN #297 (Mar. 1976) 14. “Clark Kent, Get Out of My Life!” (with Elliot S! Maggin) SUPERMAN #298 (Apr. 1976) 15. “The Double-or-Nothing Life of Superman!” (with Elliot S! Maggin) SUPERMAN #299 (May 1976) 16. “Superman, 2001!” (with Elliot S! Maggin) SUPERMAN #300 (June 1976) 17. “Superman Takes a Wife!” ACTION COMICS #484 (June 1978) 18. “The Miraculous Return of Jonathan Kent” ACTION COMICS #504 (May 1980) 19. “The Secret World of Jonathan Kent” ACTION COMICS #505 (June 1980) 20. “Luthor Unleashed!” ACTION COMICS #544 (June 1983)

• ADVENTURE COMICS (Supergirl): #381-382, 384, 386, 388-389, 391-392, 394, 396 • DC COMICS PRESENTS #10-11, 15, 73, 82 • DC SPECIAL SERIES #5 (Superman) • DC SUPER STARS #12 (Superboy) • THE NEW ADVENTURES OF SUPERBOY #1-23, 26-30, 32-33 • SUPERBOY #148; (Legion of SuperHeroes): #173, 183-184, 188, 190-193, 195, 197-209, 211, 214-216, 218, 220, 222 • SUPERGIRL #1-4, 7-10 • SUPERMAN #198, 200-201, 204, 209, 213, 214, 219, 200-221, 223, 230-231, 238, 240, 243, 246, 249-250, 255-259, 261, 263-264, 269, 275, 278-279, 281, 283-284, 288-289, 291, 294, 296-300, 327, 329, 353-369, 372-375, 379-386, 388-392, 401-402, 410, 412-413, 415, 418, 421, Annual #9, 12 • SUPERMAN FAMILY #166, 169-173, 176-183, 195-198 • SUPERMAN’S GIRL FRIEND, LOIS LANE #96, 108-109, 112, 120-121, 123-127, 130-132, 134-137 • SUPERMAN’S PAL, JIMMY OLSEN #107, 109, 111, 157 • SUPERMAN: THE LAST FAMILY OF KRYPTON #1-3 (miniseries, 2010) • WORLD’S FINEST COMICS #151, 167-169, 174, 176, 178, 180-182, 184, 189-191, 302

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WRITTEN BY MICHAEL EURY. ALL ART TM & © DC COMICS.

20 BATES SUPERMAN STORIES YOU SHOULD READ!

• ACTION COMICS (Superman stories and misc. back-ups): #354, 356, 358, 366-370, 383-390, 392, 401, 403, 405, 407-408, 410, 412, 414-416, 419, 421-423, 425-428, 430-435, 438-439, 441-442, 444446, 450, 453-454, 456, 460466, 468-476, 480-485, 487499, 501-512, 544, 548-549, 581

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elliot s! maggin

ELLIOT S! MAGGIN’S SUPER-CONTRIBUTIONS! Brandeis University student ELLIOT S. MAGGIN famously found his way into editor Julius Schwartz’s pool of writers through his comics script starring Green Arrow titled “What Can One Man Do?,” written as part of a term paper for a history course in communications media. His earliest Superman stories explored the Man of Steel’s heroism, and his flair for dialogue made him the perfect occasional writing partner for plotmaster Cary Bates. The exclamation point after his middle initial was originally a typo that Julie Schwartz instituted as lettering policy. Maggin’s other comics credits include Green Arrow back-up stories for ACTION, THE JOKER, JUSTICE LEAGUE OF AMERICA, and SHAZAM!, as well as an editorial stint at DC from 1989-1991. He has twice run for a seat in the U.S. House of Representatives.

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Batgirl appearances in Superman, Blackrock, Captain Thunder (EarthOne’s version of Captain Marvel), LEXCORP (FIRST SEEN IN SUPERMAN #416, FEB. 1986), Miracle Monday and Superwoman, Superman novels and novellas

ELlIOT S! MAGGIN TRIVIA! Elliot once appeared as a contestant on the TV game show Jeopardy!

20 MAGGIN SUPERMAN STORIES YOU SHOULD READ!

ELLIOT S! MAGGIN SUPERMAN FAMILY CHECKLIST! • ACTION COMICS (Superman stories and misc. back-ups): #420, 424, 429, 437, 440-441, 443, 447-449, 455-461, 568, 571, 642 • DC COMICS PRESENTS #87, Annual #2, 4 • SUPERMAN #247, 251, 257, 260, 262-268, 270-271, 273-277, 279-280, 282-283, 285-287, 290, 292-293, 295-300, 302, 276, 390-392, 394-395, 400, 411, 414, 416-417, 419-420, Annual #9, 10 • SUPERMAN FAMILY #165, 168, 171, 174, 177 • Superman novels LAST SON OF KRYPTON (1978) and MIRACLE MONDAY (1981) • Superman novellas LUTHOR’S GIFT (1991) and STARWINDS HOWL (1999) • WORLD’S FINEST COMICS #210, 213 WRITTEN BY MICHAEL EURY. ALL ART TM & © DC COMICS.

1. “Must There Be a Superman?” SUPERMAN #247 (Jan. 1972) 2. “The Greatest Green Lantern of All!” (Fabulous World of Krypton) SUPERMAN #257 (Oct. 1972) 3. “Wild Week-End in Washington!” (with Batgirl) SUPERMAN #271 (Oct. 1973) 4. “The Man Who Wrote Superman’s Obituary!” ACTION COMICS #429 (Nov. 1973) 5. “The Man Who Murdered Metropolis!” SUPERMAN #271 (Jan. 1974) 6. “Make Way for Captain Thunder!” SUPERMAN #276 (June 1974) 7. “The Super-Cigars of Perry White!” ACTION COMICS #436 (June 1974) 8. “The Man Who Betrayed Krypton!” ACTION COMICS #440 (Oct. 1974) 9. “Who Was That Dog I Saw You With Last Night?” (return of Krypto) SUPERMAN #287 (May 1975) 10. “The Man Who Created Superman!” ACTION COMICS #447 (May 1975) 11. “The Luthor Nobody Knows!” SUPERMAN #292 (Oct. 1975) 12. “Who Took the Super Out of Superman?” (with Cary Bates) SUPERMAN #296 (Feb. 1976) 13. “Clark Kent Forever - Superman Never!” (with Cary Bates) SUPERMAN #297 (Mar. 1976) 14. “Clark Kent, Get Out of My Life!” (with Cary Bates) SUPERMAN #298 (Apr. 1976) 15. “The Double-or-Nothing Life of Superman!” (with Cary Bates) SUPERMAN #299 (May 1976) 16. “Superman, 2001!” (with Cary Bates) SUPERMAN #300 (June 1976) 17. “The Last Secret Identity!” DC COMICS PRESENTS ANNUAL #2 (1983) 18. “The Living Legends of Superman” SUPERMAN #400 (Oct. 1984) 19. “The Last Earth-Prime Story” SUPERMAN #411 (Sept. 1985) 20. “Year of the Comet” (first Superboy-Prime) DC COMICS PRESENTS #87 (Nov. 1985)

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Curt Swan (1920–1996) found a career in comic books beginning in the fall of 1945. Newly discharged from the military after World War II, he had successfully drawn maps, spot illustrations, and gag cartoons for the European Theater edition of the Army’s Stars and Stripes newspaper. Looking for civilian employment, Curt realized that the Golden Age of magazine illustration was over. Thus, the 25-year-old had to channel his desire to work for Collier’s and the Saturday Evening Post into something else. Believing comic books to be a fad that would likely end in a year or two, Swan would have been shocked to learn he’d still be prospecting that vein a half-century later. Hobnobbing at various times with future Pulitzer winner John Fischetti, a charmingly grumpy journalist/ 60 Minutes commentator named Andy Rooney, and current Dean of American Newspaper Comic Strips Mort Walker, Swan was part of what has been dubbed “the Greatest Generation.” He survived bombings in London to peacefully sketch by the Seine when transferred to Paris. One time, nearly “meeting [his] Maker” when a German V2 bomb “came roaring in and hit very close by, rattling everything to hell,” he dealt with it in his own way. Though raised Presbyterian, it was while lying under the stars and philosophizing with his brother Lloyd at the age of 11 or 12 that Curt chose a less ritualized spiritual path (“Drawing Superman” by Curt Swan, from the book, Superman at Fifty: The Persistence of a Legend, Octavia Press, 1987). A Swan family joke recounts the time Curt was given a battle ribbon for traveling beyond Patton’s Third Army and crossing the Maginot Line. Funny thing: The reason he did so was to visit his future wife Helene, who was already there, stationed with the US Army’s 101st Airborne Paratroop Division after joining the Red Cross. Curt Swan and Helene Brickley were wed in Paris in April 1945. She became a realtor and co-owned a Westport, Connecticut, real-estate firm for many years. Helene and Curt were divorced after more than 35 years of marriage. At the age of 91 in January 2012, she passed away following a lengthy illness. The obituary stated, “Her greatest pleasures came from spending time with her children and grandchildren and traveling worldwide with them, wherever they wanted to go.” The Swan family name had been shortened from the original “Swanson.” Though Curt called himself a “stupid Swede,” his use of the vernacular, as when he invited comic-book writer Elliot S! Maggin to share a “libation,” proved him to be anything but. He was thoughtful,

Up, Up, and Away! Even in a watercolor sketch, the artistry of Curt Swan (whom we’ve added in the clouds) is breathtaking. From the collection of Raúl Wrona, courtesy of Eddy Zeno. Superman TM & © DC Comics.

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Eddy Zeno

loaning his home and leaving a red rose to greet them at the front door when Mort Walker was courting his second wife, Cathy. Swan treated everyone with respect; he was generous, giving away much original art to raise money for literacy funds and other charities, as well as writing them occasional checks he could nigh afford. Curt began as a journeyman at the company that became known as DC Comics. Following in the footsteps of Joe Simon and Jack Kirby on their features, Boy Commandos and “Newsboy Legion,” he would go on to pencil one-off stories for titles like Gang Busters, House of Mystery, and Star Spangled War Stories, as well as for ongoing back-up series like “Manhunters Around the World” or “Tommy Tomorrow.” Curt Swan’s first regular Superman family work was drawing Superboy, starting in the character’s own title (1949). This was quickly followed by also depicting the boy hero’s exploits in Adventure Comics. In May–June 1954, due to a diminishing page count, Superman and Batman began teaming up to fight crime in World’s Finest Comics and Curt was there. A few months later (Sept.–Oct. 1954), editor Mort Weisinger started Superman’s Pal, Jimmy Olsen. Swan had an unbroken run as both cover and chief interior Olsen artist for nearly 12 years (continuing with most of the covers for another four years). In addition to sporadically illustrating the adult Man of Steel starting in 1948, Curt became the regular penciler on the Superman daily newspaper strip in 1956. He added the title of cover artist for every

Curtoons (above) World War II Stars and Stripes cartooning by Swan, circa 1943. Courtesy of Eddy Zeno. (left) Swan apes Jack Kirby on the Kirby-scripted Boy Commandos tale from World’s Finest Comics #21 (Mar.–Apr. 1946). Inks by George Klein. TM & © DC Comics.

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A Crisis for Superman Courtesy of Eddy Zeno, original art to page 21 of Superman #242 (Sept. 1971), powerfully rendered by Swan to reveal the Action Ace’s humanity. Script by Denny O’Neil, inks by Murphy Anderson. TM & © DC Comics.

Superman-related title commencing that same year. For subconscious desire by Weisinger and others at DC to a short time he also illustrated the Batman and Detective portray the Man of Steel as a stronger moral figure, Comics covers. The latter assignment ended in late 1959 one whose compassionate gaze could combat the things and Swan relinquished the Superman dailies soon after. being said about him and all of the four-colored heroes On the cusp of becoming a who sprang from him in the first professional comic-book writer, Elliot place. That was the Swan version of Maggin had an amazing letter Superman readers came to adore. printed in Superman #238 (June CLOSING THE ERA 1971) in which the Brandeis The Silver Age was well University student rememunder way by the early 1960s bered his boyhood: “In the ’50s, and Curt was cementing his when comics were being blamed place in comic-book history. With for juvenile delinquency and street Mort Weisinger continuing to guide violence and all manner of social ills, his creators to new story heights, I picked up a Superman comic at a candy copy was soon added to Swan’s covers store in Brooklyn’s East New York. From boasting that they were the “World’s that magazine—that brief encounter— Best-Selling Comic Magazines!” Curt came my imagination—my own social murphy anderson drew increasingly more interior conscience and reverence for human stories as the decade progressed. The life—my own daring to dream.” penciler’s longtime inker Stan Kaye Perhaps that was the reason Swan left, and Sheldon Moldoff substituted for a time. With became a primary Superman artist in the mid-20th century. The turbulent period may have sparked a the arrival of George Klein, Swan had perhaps his finest embellisher to date. In 1968 Klein left DC Comics and died shortly thereafter. Other finishers were assigned with less successful results until Weisinger borrowed longtime member Murphy Anderson from fellow editor Julius “Julie” Schwartz’s stable of freelance artists.

Masters of Comic-Book Art From the collection of Eddy Zeno, the cover to the 1979 Comic Art Convention program, about which Eddy says, “Curt Swan and John Buscema: contenders for Michelangelos of the Comics.” Batman and Superman TM & © DC Comics. Conan © 2013 Conan Properties.

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The Man of Steel

THE BOY WHO LOVED CURT SWAN

Swan’s ability to render Superman’s humanity is clear in (left) the hero’s anguished face on the cover of Superman #247 (Jan. 1972) and (right) his “grim determination” in his struggle with the Galactic Golem in this sequence from #248. Inks by Murphy Anderson.

Becoming the first person to teach an accredited college course exploring comic books as a valid storytelling medium, Michael Uslan has executive produced every Batman movie since 1989. In fact, it was his vision that allowed the Batman to emerge from the campiness of the ’60s television show to blow away the world’s pop-culture dynamics. In his 2011 memoir, The Boy Who Loved Batman, there were clues that Michael was a Swan fan. Uslan confirms to BACK ISSUE: “I remember Curt Swan’s art as a little kid reading comic books in the 1950s. I knew his art style before I ever knew his name. For me, he was the definitive Superman artist. I could also always pick his art out when he drew ‘Tommy Tomorrow’ or other strips for DC. I think there were two aspects to his art that won my heart. His work was, to me, modern day. It wasn’t as ‘old-fashioned’ or stiff as the work of some other Superman family artists. Without even realizing it, I looked at Curt’s Superman as the Silver Age Superman and the other artists’ work as a Golden Age Superman. Also, Superman had many more facial expressions and emotions when he was drawn by Swan. I related to that in my comic-book heroes as I was growing up.” ZENO: Any thoughts on Julie Schwartz teaming Swan with Anderson? What about Curt and Bob Oksner? Swan and Al Williamson? USLAN: Murphy Anderson was one of my favorite artists of the Silver Age. His Atomic Knights, Spectre, Dr. Fate and Hourman, Starman and Black Canary, and Hawkman are at the top of my list of favorites from that era. As an inker, he was unsurpassed. Thus, the Swanderson team was ideal for me! Oksner always seemed to enhance the renderings of the ladies in the strip. michael uslan Williamson is another of my favorite artists and his inking was of the same nature as Murphy’s. But to me, Murph was the rock star! Superman in the Bronze Age Issue

TM & © DC Comics.

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“MY DAD SAID IT WAS TOO HARD TO MAKE A LIVING IN THE ART WORLD” Curt and Helene’s oldest, son Chris, works for That made her slow down for a while but she Connecticut Light and Power (CL&P). Middle child, chuckled when she added that she has sped up daughter Karin, obtained an advanced degree again: “So I guess I’m back in the FPA.” She had an and currently teaches art to kindergarteners, first, art show at a Connecticut bank in November/ and second graders. The youngest December 2011. Her first boat painting daughter, Cecilia “Ceal” Swan was named, “Swan,” after her dad. Swift, works three nights a Her second featured two boats week (with her husband at their and was titled “Swan 2.” The trio of restaurants) but makes third painting had both a boat sure to have plenty of time for her and an extensive landscape and was avocation. From an April 23, 2012 titled “Swan and Swift.” The number phone call with Ceal: on the boat in the latter painting “I’m in a painting class with was her anniversary date, which celia swan swift seniors. I started with them about she kept because it held such seven years ago. My dad always said personal meaning. it was too hard to make a living in the art world. For the last couple of years, Cecilia’s work has Whereas my dad’s artwork was his life’s work, I really been featured at two art galleries in the Turks and like the idea that my art gives me more pleasure as a Caicos, where she vacations annually. The paintings fun hobby.” are miniatures, either 2" x 3" or 5" x 7", placed on Ceal owes her artistic renaissance to her sister baby easels. Noting her current inventory of 250 Karin, who gave her painting lessons for her 50th more easels to which she feels the urge to add small birthday. “My dad did watercolors, which I loved, but canvases, Ceal laughs, saying, “I used to be an avid they’re very hard to work in. I chose acrylics, which is gardener until I quit smoking [something her father very hard, too. But I like it because the layers dry fast never successfully accomplished]. Now I’m hooked on and I can quickly build on top of them.” Her teacher golf and painting. Whenever I do either, I feel close to said she was in the FPA (Fast Painter’s Association). my dad. He’d be so proud of me.”

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“I Flew with Superman”… …was the title of the back-up tale in 1983’s Superman Annual #9 (right). Co-plotted by Curt and Cary Bates, scripted by Elliot S! Maggin, and penciled and inked by Swan, it featured THE Superman artist dreaming of an encounter with the Man of Steel. Original art page signed by Swan, featuring Clark Kent’s Bronze Age-era apartment at 344 Clinton Street. Remarks Joe Hollon, who kindly contributed this scan for print: “According to the biography Curt Swan: A Life In Comics, the pages from this story were distributed as gifts to members of Swan’s family. Not sure how or why this one became available but it certainly has a special place in my collection. It’s a rarity because Swan only inked himself a very few times and he has drawn himself into the story. A very personal piece.” (bottom) Swan at work. From the 1973 tabliod The Amazing World of Superman. TM & © DC Comics.

For the fortunate there’s a perfect time to be a kid. For most children there are seamless images from their favorite stories. For this kid, such visions were occasionally launched from the pencil and brush of Curt Swan and George Klein, respectively. Certain pictures of Superman’s face were plenty good enough while a few captured exactly the likeness that embodied the hero’s best qualities. Soon after, when Murphy Anderson was assigned to ink Curt, Superman seemed too perfect. He dazzled—was too bright—like the sun. But once the eyes adjusted and expectations elevated to the appropriate level he looked just right … wonderful … swanderful … Swanderson! Swan and Anderson teamed on several covers for Mort. When Julie Schwartz took over as editor of the Man of Steel’s title after Weisinger retired in 1970, the Swanderson team remained his first choice to draw Superman. Later, at various comic-cons, Schwartz talked about one reason Swan liked the Bronze Age editor—because Julie always had a check for Curt when he turned in his assignments. That the artist felt grateful for not being impaired in making a living speaks volumes of the earlier era. Luckily, Schwartz and Swan had more than a business relationship and considered themselves friends.

ROCKWELL OR BUONARROTTI? It was probably Murphy Anderson who first called Curt Swan the “Norman Rockwell of the Comics,” with good reason. Born in Minneapolis, Minnesota, Curt had an instinctive sense for how Superboy’s Smallville, with its water tower and Pa Kent’s general store, should be portrayed. Similar to Rockwell’s painterly Easterner’s view, Swan’s Midwest-shaped

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Certified Curt A copy of a notarized letter written by Curt Swan attesting to the authenticity of his autograph on hundreds of his original art pages released for sale from his personal collection. Courtesy of Eddy Zeno, who obtained this document from Heritage Comics Auctions (www.ha.com).

Man of Irons Courtesy of Heritage, a 1992 golfing specialty piece done by Swan. Superman TM & © DC Comics.

moral and artistic vision of “Truth, Justice, and the American Way” flowed easily from pencil to page. However, in another way, their proclivities differed. The people that Norman Rockwell portrayed were often long and lean. Yet as Curt noted, it wasn’t until he bulked up his rendition of the Caped Kryptonian that he looked right. Through self-study and natural talent, Swan became one of the finest all-time delineators of anatomical art. The muscles under the skin were naturally and perfectly relaxed or bunched and coiled with the precise amount of tension depending on a character’s need to respond. The biceps in the upper arm didn’t swell just because a character held the elbow flexed. Only when overcoming great resistance did the muscle properly bulge. Tendons and ligaments crossed the joints just so. When his figures stirred, they moved with lyricism, grace, and beauty. The artist’s mastery of body language was unsurpassed and has long reminded this writer of Michelangelo Buonarrotti’s sketches made prior to his fresco paintings. Marvel Comics’ John Buscema has aptly been called the “Michelangelo of Comics,” not only because of his finished comic-book work, but because of a multitude of sketches that can also be likened to Buonarrotti’s preliminary “cartoons.” If Michelangelo had grown up an American depressionera kid who later found a job drawing mainstream comics, his work might have resembled Big John’s

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when illustrating Conan or the Vision. But if DC had been lucky enough to get him, Buonarrotti’s version of Superman may well have had more in common with Swan’s Man of Tomorrow.

THE BRONZE AGE UNFURLS It was unknown what would happen to the Man of Steel upon Mort Weisinger’s exit from DC Comics. As Julie Schwartz began to inherit the books at the start of 1971, he took DC’s flagship hero in a different direction than his predecessor (and a few intermediate editors as well). Julie allowed his young scribes the opportunity to express themselves in more personal ways than could the Silver Age wordsmiths. Examples from each of Schwartz’s primary writers showcased Swan’s diverse storytelling skills. Dennis “Denny” O’Neil could reference the Bible, for instance, something that would have never been permitted under Weisinger’s regime (page 21, Superman #242, Sept. 1971). And with that biblical allusion, Curt penciled an overturned child’s red wagon with wheels askew to symbolize the desolation of a world Kal-El mistakenly thought he had helped to destroy. His cohort in the hallucination was a sand-being come to life, an attempt, Denny later wrote, to tone down the Man of Steel’s “…elephantiasis of the powers.” (From O’Neil’s Afterword in DC Comics Classic Library, Superman: Kryptonite Nevermore, 2009.) Swan was always adept at making things like concrete statues or swirling sand become mystically animated when possessed by alien beings.

Writer Len Wein couldn’t remember if it was he or Julie Schwartz who came up with the cosmic version of a 16th-century Jewish legend, but instead of a being formed of clay, theirs was shaped and driven by star matter. Created by Lex Luthor on a lab table in Frankensteinian fashion, his old/new name was the Galactic Golem. While Curt Swan, the anatomist, expanded the energy being’s musculature beyond even the power portrayed in his Bronze Age Man of Steel, it was at the same time a quiet tale in which Lex thought he had (as Superman did in the O’Neil story referenced above) destroyed everyone else on Earth. Few artists besides Curt could successfully juxtapose superpowered combat with the lonely soliloquy of Luthor’s “final report.” (From “The Man Who Murdered The Earth!,” Superman #248, Feb. 1972.) It was often when writers posed the big questions that Curt’s pencils shone brightest. A prime example was when the Caped Kryptonian contemplated whether he was holding mankind back by constantly coming to their aid (“Must There Be A Superman?” in Superman

#247, Jan. 1972, by Elliot S! Maggin, from an idea by Tim Sale). Another came from Superman #408 (June 1985), in which the hero debated whether he should eliminate Earth’s nuclear arsenals so its countries could not destroy each other (“The Day The Earth Died!,” with script by Paul Kupperberg, from Ed Hannigan’s plot). Swan’s was a sensitive line from which thoughtfulness emerged. Another delicate issue was addressed when the female space pirate Peg-Leg Portia changed from beautiful woman to decaying husk as the spell that held her youth was broken. She had to beg KalEl to let her die naturally, something he had always resisted due to the strength of his code to preserve all life. In Martin Pasko’s fable (Superman #318, Dec. 1977), Curt’s penchant for showing age across the spectrum was utilized nearly to its fullest. (Though he drew no kids or infants in this story, he was one of the best at that, too.) There were rare and glorious times when the Silver Age was revisited in a Schwartz-edited book. Whether it was the Man of Steel enlarging

In The Boy Who Loved Batman, Michael Uslan wrote about “Coupla other thoughts in answer to specific points: his days as a Junior Woodchuck at DC Comics. That was the As someone who grew up loving Curt’s work on Legion nickname given to a zealous group of young fans who were (before knowing his name, in those pre–credit days), it was a hired for molding into the next generation of managers, special privilege to get him to do a few Legion tales with me. editors, production staffers, artists, and writers. Beginning in I always had to promise: not too many Legionnaires in an 1972, Michael’s new comrades included Paul Levitz and issue … he hated the mob scenes, and the piles of reference Bob Rozakis. Both were kind enough to join when the whole gang was involved.” him in discussing Curt for this article. ZENO: What is it about his work that Levitz, current Legion of Supermade you a fan? Heroes scribe and former DC LEVITZ: I think the magic of Curt’s president and publisher, “…always work was the humanity. I wrote a made sure credit was given where credit piece on him when he was guest of was due,” according to Uslan. Paul remains honor at one of the early New York Cons, true to that mantra as he tells BACK ISSUE: which unfortunately I don’t have access to “Curt was a student of humanity, in a these days, but to me the punch line was paul levitz way that most comic-book artists rarely always his ability to make Clark’s knowing are … he had watched faces for a lifetime, wink work in comics. It was a gesture that and understood the nuance of an expression, and how was magical to me from George Reeves’ performances, to capture it. It’s a rare gift, and rarely used to best effect and the kind of moment a superhero artist usually couldn’t in superhero comics, where melodrama rules over character capture … but Curt did. moments. But the combination made him a perfect ZENO: Of course, with BACK ISSUE’s emphasis on the choice for Superman, particularly in the 1960s, when few Bronze Age, are there any special memories of the artist’s of the stories included world-shaking battles, but many work from those years? included emotional high points. LEVITZ: As a newszine editor, I paid a lot of attention to “He was also one of the handful of artists of his generation the Swan and Anderson Superman moment, which was just who couldn’t be fully appreciated without seeing his pencils. happening in my fan days. It seemed like a great pairing— An illustrator at heart, his line and shading was gentle in a way Murphy added a boldness to Curt’s subtleties, which felt very that the reproduction methods of the time couldn’t handle. different from Klein or Kaye’s work. I loved watching Murphy Even the few times he inked his own work, he couldn’t capture move his brush across those pages on days when he his own flavor … and in many ways, no one else could either. would work at a desk in DC’s production department. Superman in the Bronze Age Issue

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Photo © Luigi Novi/Wikimedia Commons.

“I ALWAYS HAD TO PROMISE: NOT TOO MANY LEGIONNAIRES…”

the Bottle City of Kandor (Superman #338, Aug. 1979), or Luthor annihilating a populace that considered him valiant (Action Comics #544, June 1983), Julie relied on Curt to maintain artistic continuity. Swan provided the link from 1958 when Otto Binder first wrote of Kandor being miniaturized and stolen by the space villain Brainiac to 1979 when Len Wein (from an idea by Marv Wolfman) penned “Let My People Grow!” His pencils connected Edmond Hamilton’s 1963 story in which Lex became revered on another world to Cary Bates’ “Luthor Unleashed!” in 1983, when he squandered the chance to find redemption by extinguishing the planet Lexor, renamed in his honor.

THERE’S MAGIC IN THEM THERE PENCILS Of course, there were other Bronze Age inkers besides Murph. Bob Oksner’s rounder embellishments exaggerated Superman’s muscles even more than Anderson’s. Francisco “Frank” Chiaramonte had an interesting way of outlining Swan’s people that sometimes gave them an aura. Borne from his years in newspapers doing backgrounds and illustrating strips like Little Orphan Annie, Tex Blasidell’s loose line offered Curt’s work a scratchier feel. Dave Hunt gave the characters arching eyebrows and Lois Lane with her straight-cut hair and longer bangs a modern, professional look. Al Williamson chose a pen because he

FROM SWANDERSON TO SWAFFENBERGER?

TM & © DC Comics.

department and off to the printer so it would still come The third Junior Woodchuck to accompany this article is out on time, despite Curt being “late.” As I recall, Curt Bob Rozakis. Driving the DC Comicmobile after Michael managed to get the art done just about as originally Uslan handed him the keys, Bob went on to write many scheduled—so he ended up being a month ahead! stories for the company and became its longtime production ZENO: Favorite inkers of his work, and why? manager. When I was assembling the book Curt Swan: A Life in Comics, Julie Schwartz’s suggestion was to learn if ROZAKIS: I liked George Klein on Curt in the ’60s and Murphy Anderson in the ’70s. In the ’80s, Swan’s writers were happy with the way it’s a tossup among Frank Chiaramonte, he interpreted their scripts. Mr. Rozakis Dave Hunt, and Dan Adkins, though is kind enough to answer that I think Frank’s work was underrated. question and more for BI’s readers: My favorite on my stories, however, “It was a thrill to have Curt has to be Kurt Schaffenberger, as I illustrating some of my stories. He was mentioned above. In every case, the inkers THE Superman artist from the years when I were true to Curt’s pencils, which were became a fan. My favorites were the four always very strong and clean. issues of Superman: The Secret Years bob rozakis ZENO: What do you feel were his greatest (Feb.–May 1985). Curt and Kurt contributions to the field of comic-book art? Schaffenberger joined forces and gave us a ROZAKIS: Curt’s biggest contribution was the level of Clark (and Superboy) who looked older than the boy of professionalism and consistency he brought to his work. Smallville and younger than the man of Metropolis.” ZENO: Any fond memories of conversations with Mr. Swan? Look at his stories and no matter what angle you are looking at Superman, Lois, Jimmy, etc., you can always tell who ROZAKIS: I don’t recall having any long conversations with Curt, though I probably would have been a gushing they are. From the back, from the front, from the side, fanboy about all the work he did prior to my coming to DC and how much I enjoyed it. Curt was always friendly and he would say, “Hello, Robert!” to me when we’d meet. ZENO: Production anecdotes about Curt? ROZAKIS: When we were preparing the surprise issue of Superman for Julie’s 70th birthday [Superman #411, Sept. 1985], I was acting as editor of the book, coordinating among Elliot Maggin, Curt, and the rest of the creative staff. Curt was concerned that Julie was going to yell at him for being late on the story we were displacing for the special one. Wearing my production manager hat, I went with Curt to Julie and explained that Curt had been assigned a special custom comic but that I would make sure the Superman story got priority through my 30 • BACK ISSUE • Superman in the Bronze Age Issue

these were fully realized people when Curt drew them. As a writer, you always knew that you would get Curt’s best effort on your stories. ZENO: What was he like as a man? ROZAKIS: For the amazing body of work he created in his career, Curt was a very modest man. I don’t know that he ever realized just how much he meant to comics and the fans. I remember when he brought in the art for Secret Years #4, which had some very emotional scenes in it. I was looking through the pages and he said, “I was trying to give you what you wanted. I hope you like it.” I’m sitting there loving every page of the art and thinking, “Wow! These are great. This is perfect!” and Curt is saying he hopes it’s good enough.

Golden Oldie In 1995, Curt revisited his “Coward of Steel” cover from Action #322 (Mar. 1965, inked by George Klein) in this detailed recreation showing his penciling wizardry. Courtesy of Heritage. TM & © DC Comics.

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“NOTHING FANCY-SHMANCY HERE…” Already an established writer and editor at DC by the early “Curt Swan is of that generation. He probably considered 1970s, Dennis O’Neil would give Michael Uslan his first himself to be a craftsman whose craft was telling visual stories. break writing comic books in The Shadow #9 (Feb.–Mar. And so he was. But a good craftsman takes pride in his work 1975). Denny stood on middle ground, and wants to do it as well as he can and that, somewhere between the youngsters too, was Curt. He taught himself to do like Uslan, Levitz, and Rozakis who visual narratives that were clear and so loved comics and the grizzled coherent. Nothing fancy-shmancy veterans for whom and with whom here, nothing to call attention to the ego he worked. Exclusively for BACK ISSUE, behind the pencils and inks—just getting O’Neil expresses it this way: the job done, just getting those stories told. “When Mike Uslan was a comics-loving “I worked with Curt on a run of kid, he realized that the artists and writers Superman issues in 1971 and again, years dennis o’neil were real people, who ate and slept and later, toward the end of Curt’s career, on lived somewhere, and that somewhere a story about a chunk of Gotham City’s was an easy journey from his New Jersey home. So he history [in The Batman Chronicles #6, Fall 1996], set in the went and talked to them and, to a man, they said they 19th century and on both the superheroic stuff and the period regarded their comics work as jobs. Not capital-A Art Jobs. piece, Curt’s visuals were superb. I’m grateful for them.”

didn’t feel right using a brush on Swan’s pencils, becoming Curt’s favorite embellisher. Dick Giordano’s inks proffered Curt a more contemporary feel, followed by the likes of Joe Rubinstein and later, Brett Breeding. As a storyteller, Swan was underrated in his ability to advance a story. He became masterful in providing the right amount of detail mixed with blank background panels. His use of closeups, long shots, and silhouettes also made panel progression of interest. When desired, Curt could lead a reader’s eyes in circles before thrusting onward. He had the ability to make readers fill in what was occurring beyond a scene’s borders while keeping things clear and easy to follow. Animation and comic-book writer Mark Evanier acknowledged Swan’s worth by pointing out that things weren’t quite right on the infrequent occasions when he ventured outside of the Superman family of comics: “They were all expertly drawn [but] the kid in me who’d been buying Action Comics since it was a dime was screaming, ‘This is not right!’ Curt Swan not drawing Superman was like Willie Mays playing quarterback, Placido Domingo singing country western tunes, or Mikhail Baryshnikov doing the Macarena. I mean, versatility is fine but it’s no reason to go tampering with the primal forces of nature.” [From Evanier’s book of columns titled Superheroes in My Pants!, TwoMorrows Publishing, 2004.] Luckily, the Bronze Age was chock-full of Swan Superman art with only a few forays illustrating stories in anthology books or for other superhero titles like Wonder Woman. How did Curt Swan feel about his craft? There was an occasional glint in his eye when he knew he’d captured Superman’s likeness. But how could the artist know when the fictional hero, interpreted in so many diverse styles beginning with co-creator Joe Shuster, looked right? For Swan, it was likely the expression—of obvious importance to the master of emotion. And the

“Rendering” Mr. Superman Original art to the splash page of Action Comics #485 (July 1978), Josef Rubinstein’s first shot at inking Curt Swan. Courtesy of Eddy Zeno. TM & © DC Comics.

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Josef “Joe” Rubinstein is known as the inker of more taking off the glasses; [Swan] actually drew a different pencilers than anyone else due to his 20-year stint on face!! Clark was older looking with more curves and The Official Handbook of the Marvel Universe. As noted Supes was younger and more streamlined. Who knew? on his website, josefrubinstein.com, he is an awardZENO: Any standout assignments that the two of you winning painter who began his career worked on together? What about Julius by assisting Neal Adams, Dick Schwartz’s part in all of this? Giordano, Wally Wood, and Jim RUBINSTEIN: My first Swan job Starlin before freelancing for all ever: I was given a 3 1/3 page of the major publishers. Through Superman framing sequence penciled the years Joe has inked a measure of by Curt to ink (Julie designed it) for a the Man of Steel’s notable pencilers, Swan/Anderson Supes story [Action Comics including Curt Swan. #485, July 1978]. I was thrilled and ZENO: Who are some of the legends terrified. This was by Mr. Superman, for josef rubinstein you’ve most enjoyed embellishing with God’s sake. I grew up reading his work. your talented inks? Was Curt one of them? I was nervous and tried to be as faithful to RUBINSTEIN: Yes, Curt, for sure. I have inked over 400 the flavor of the work as I could. Consequently the inks pencilers, meaning I have the Guinness World Record were too stiff and Julie had the production department (IF it existed—which it doesn’t). [Gene] Colan, [José Luis] unnecessarily darken Supes’ hair (and chiseled me out of García-López, Frank Springer, Joe Kubert, [David] Finch, getting paid for that last 1/3 of a page). [Marc] Silvestri, [Norm] Breyfogle, [John] Buscema, I did a Superboy job years later that I did a better job on, [Stan] Drake, Mark Bagley, Jay Scott Pike, [Dick] but still, it was like smoke; I could see so much more in it Giordano, Ron Wagner, [John] Byrne, and lots of others. than I could pull out. Only Gene Colan’s pencils were more ZENO: What did you think of his pencils? elusive. Possibly inking Curt in tone is more appropriate? RUBINSTEIN: Curt drew beautifully but there was I arranged for Curt to draw Marvel’s “Superman,” a softness to his pencils, leaving a lot of room for Hyperion, for The Official Handbook of the Marvel Universe interpretations explaining how different his work for me to ink as a small joke. looked from job to job. Those Adams covers looked ZENO: Did you ever meet the senior artist? Any wonderful, and interestingly enough my friend and knowledge about what Curt thought of his contributions mentor Dick Giordano felt he didn’t do a good job over to Superman and to comic-book art in general? Curt. Of course, Anderson is the guy most associated RUBINSTEIN: I met Curt two or three times. He was a with Curt’s work, but my very favorite inker over Curt pleasant, understated gentleman. Uncharacteristically, was the very great Al Williamson. I didn’t gush at him about his work. There is one Curt Swan Superman drawing in the I did commission him to draw and ink a self-portrait classic hands-on-hips pose on a jam board inked by the for my collection. It was simply a full figure of him amazing Wally Wood. drawing at his table. The Swan family owns it now. His “Man of Steel, Woman of Tissue Paper” job for He referred to the inkers as the renderers. Penthouse Comics was inked by my idol Stan Drake. It was I immigrated to the US from Israel when I was five years as good as it gets. old. My American cousin had a bunch of comic books I was When Curt drew a crowd, he drew a crowd. He didn’t fascinated by. Since I didn’t speak the language, I was take short cuts and the body language of his figures was attracted to the pictures and, like all kids, I drew my own so true and natural. comics. They were DC Comics, so to me till the age of 13 I discovered something amazing when I inked one of all comics were part of the Superman family and Curt Curt’s Superman stories. Clark wasn’t Superman by simply was THE artist. Still is to me in most ways to this day.” Superman in the Bronze Age Issue

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“HE REFERRED TO THE INKERS AS THE RENDERERS”

solitude, the loneliness, of the alien Kal-El, so much like us while at the same time being isolated due to the responsibility his great powers entailed. All were hallmarks of the Swan-illustrated Man of Tomorrow. Then again, it could have been the interaction with other characters, the naturalness of the pose, the believability of the surroundings, the “soul” coming through the page, or a combination of each of those ingredients. Concerning the ancillary cast and even the bit players, Curt likewise differentiated the subtlety of moods. From impatience to irritated to mad to angry to outraged, he was equally practiced at separating a chuckle from a guffaw. Putting the mischievous imp Mr. Mxyzptlk and other magical characters he drew to the side for a moment, Swan mined his own version of enchantment to insert in the work.

In studying his art, on infrequent occasions somewhat similar poses were nearly repeated—for example, Superman in flight. However, they were never traced; there were nuanced distinctions. Some artists used vellum overlays as templates, but that wasn’t Curt’s way. Perhaps it didn’t feel right to him or—he may not have been able, or wanted to plan, to that extent. It required more work on the front end, which may be another reason he chose not to do it. How do I know this? I don’t. But like Mr. Swan, I prefer to do things the longer, harder way, due to some inner drive. He seemed to have that in him, as well. Plus, this was an artist who always challenged himself to grow—to do better. It would have gone against his nature to trace, or to try something equivalent.

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“THE SUPERMAN MOVIE WITH CHRISTOPHER REEVE … HIS ART STYLE BROUGHT TO LIFE” Painted comic-book covers were a hand-me-down idea “Curt Swan’s strong command of figure drawing was from the pulps until Alex Ross came along. His realized a key contribution to comics because he brought one dream was to bring a painterly look to the mainstream of the most attractive and lifelike depictions to what superheroes, a hyper-realism that looked like nothing often remained the most popular and well-known comic before him, not only on the front books being published while he was on wrapping but inside, as well. Ross is a it. I particularly find it most charming student of history and has always when I look at his work from the been quick to acknowledge the mid-’60s, before the Neal Adams inspirational artists who came before style of realism began to infect him. BACK ISSUE happily affords everything else. Mr. Swan’s era of Mr. Ross this opportunity to speak in-depth Superboy and the Legion is particularly a about one of those talents: standout of how much fun the escapism “Curt Swan’s impact on me was like it of superheroes can be. alex ross was for everyone of my generation: He “Curt’s legacy is also one that stands as was THE Superman artist. Whoever else a reminder of how the industry does not came in and did work with the character was only passing automatically look after its own. Despite the many years through. Curt defined him for 30 years. I saw him as the he worked for one publisher alone, there was no protection ultimate Silver Age artist for DC and Superman, and I also plan for him, no pension, or really any great reward for thought that the Superman movie with Christopher Reeve all the years of service. Curt Swan was no small artist; he was a realization of [Swan’s] art style brought to life. In worked on the most important character they published, some ways my own approach to Superman was to try and when his time was done, at best he was given a few and come up with something that was slightly removed other jobs to get by when he should have been able to from Swan’s take because I wanted to find something experience some of the financial success that would somewhat unique to say, but also his version was so come to the generations that would follow him. I did pervasive. It was hard to picture Superman without have the pleasure of meeting Mr. Swan in the mid-’90s, imagining him through Curt Swan’s filter. The various when I was first coming up in the business. I was with cameos I put in of other characters and creators in the my friend, the publisher of Dynamite Entertainment, Kingdom Come series were some of the ways I was able to Nick Barrucci, who introduced me to Mr. Swan and asked pay tribute to many people, and it seemed very important him to sign one of his favorite Silver Age books. I feel to acknowledge Mr. Swan there because, in some ways, privileged that I got a chance to meet such important nobody gave more to Superman than he did. No other figures like Jack Kirby and Curt Swan before they passed single artist or writer, as far as I’m aware, put in the and wished that I had had that opportunity again to have amount of years dedicated to that character that he did. told them how important their work was to me.” 34 • BACK ISSUE • Superman in the Bronze Age Issue

Metropolis Marvel (above) A 1992 Superman illo drawn by Curt Swan for this article’s writer (and Swan biographer), Eddy Zeno. (right) Two years before the Metropolis Marvel confiscated Earth’s nuclear weapons in the film Superman IV: The Quest for Peace, plotter Ed Hannigan and scripter Paul Kupperberg had the hero contemplate doing that very thing in Superman #408 (June 1985). Superman’s moral dilemma is clearly evidenced on his face on this page, masterfully rendered by Curt Swan and Al Williamson. Signed original art page courtesy of Heritage. Superman TM & © DC Comics.

Swan said he felt challenged when a young progressive named José Luis García-López began drawing Superman in 1976—hence, another reason he sought to improve in the USA’s Bicentennial year. Though the track laid by graphite eventually quivered, Curt’s pencil never really faltered. Enhanced by the lines of experience, the shading of a life well lived, if anything it grew stronger. His craft became fully defined in the private commissions done in his last decade. However, despite Swan’s immense talent, there were some characters he seemingly wasn't meant to pencil: Deadman, Swamp Thing, Darkseid, and Hawkman (unless Murphy Anderson was inking the latter). In addition, his illustrations were never intended to be colored darkly. Swan once noted, “My ego flies” when a fan wrote an article in tribute to his legacy. As comic-book artist and writer Jerry Ordway observed, we all have them— egos, that is. Yet Curt chose to remain modest and selfeffacing about the natural talent he possessed and the hard work involved in bringing that talent to the public.

END NOTES During a July 18, 2003 Swan tribute panel at San Diego Comic-Con International, Curt’s old friend Julie Schwartz, speaking in the language of aging comic-book editors, referred to “The Downfall of Curt Swan.” He was alluding to the artist’s divorce and the fact that Curt did not always take good care of his health in his senior years. As this is being written, the last surviving Golden Age primary Superman illustrator remains Al Plastino. During a phone call a few years ago, Plastino stated that Curt was a nice guy with whom he enjoyed conversing when they happened to be visiting the DC offices at the same time. He felt that Curt doing pencils only—and not inking himself—helped lead to his early demise. Al noted that controlling both tasks kept him from working himself to death. One time, when Mort Weisinger asked him to let someone else embellish his pages, Plastino turned in such sketchy work that no one could find the line to ink. The idea was quickly dropped. Superman in the Bronze Age Issue

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Curt Swan has been dubbed a “superman” who penciled the champion of that title. Perhaps it would be more appropriate to call him a “good man” who shared something of the essence of the hero he drew. He worked exclusively for DC Comics nearly his entire career, foraging a bit at other publishers toward the end of his life. Various sources with differing opinions claim to know what Curt was working on at the time of his death. Was it a story for Harlan Ellison’s Dream Corridor, a pinup for Colleen Doran’s Images of a Distant Soil, a privately commissioned drawing, or was his final assignment a Superman tale, partially done and lovingly shoehorned into the creator-jammed Superman Wedding Album of 1996? Should the latter be true, what could be more fitting? However, if there is a less perfect ending because Swan was illustrating something besides the Man of Steel, as Curt’s dear friend Mort Walker wrote, “…they found him peacefully lying in bed with comic books around him.” That works, too.

Able to Leap Tight Deadlines in a Single Bound A Curt Swan sketch, circa mid-1980s, of his Superman editor Julie Schwartz’s “secret identity.” According to Eddy Zeno, who contributed this art, it’s been previously published twice: “First, as the program cover to Con*Stellation VI Lyra: a ‘relaxacon’ in Huntsville, Alabama, October 9–11, 1987, where Schwartz was the guest of honor; and inside a booklet given to guests of the Julie Schwartz ‘Non-Surprise’ Party at the San Diego Comic-Con on August 4, 1989.” Superman TM & © DC Comics.

THE ULTIMATE CURT SWAN FAN LETTER [Editor’s Note: The following letter from a writer who has requested anonymity was submitted to Eddy Zeno after the publication of his book Curt Swan: A Life in Comics. It appears here with both Mr. Zeno’s and the author’s permission.] Curt Swan is a hero of mine. I grew up in a not-so-wonderful household with violence and abuse and Curt Swan’s stories served as a vehicle of escape for me. His drawings were always so realistic—all those beautifully rendered faces and hands, all those wonderful aliens—with a perspective that pulled you right into the story… I still remember the excitement I felt as a kid when I’d get a comic and see the story inside was illustrated by Curt Swan. I knew that I would be able to escape reality for a while, to be led by the very capable Mr. Swan through a world of wonder and delight. As I grew up, Swan’s artwork helped me even more. I got heavily into the drug scene, not caring about myself or what happened to me. I lived in some pretty bad places, getting by on very little money, but somehow I always managed to buy a Superman comic illustrated by Swan,

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and his magic worked every time, taking me from harsh reality to a place of fantasy and surprise. In fact, one time I had taken lots of LSD and was on what was called a Death Trip, wherein you know that you're going to die and the feelings and hallucinations you experience are all related horrifically to that fact. I probably would have been lost forever—mentally, I mean— if not for Superman. In the throes of my Death Trip, I happened upon a comic with a Curt Swan cover showing Superman boldly flying off to a new adventure. I concentrated on that drawing and it helped pull me back from a place of horror to a place of comfort and familiarity. Curt Swan’s Superman, ever the hero, saved me from the monsters of my own troubled mind. What made Curt Swan great was his remarkable talent, but what made him unforgettable is that he cared about his craft. As he hunkered over his drawing board in the wee hours of morning, he took the time to render that hand just right, or that face, or that gizmo. He cared about someone like me, who would later sit fascinated and totally immersed in the illustrated worlds he presented.

This One’s for the “Ultimate Curt Swan Fan Letter”-Writer BACK ISSUE dedicates this 1986 Swan Superman colored marker illo to the anonymous writer of the “ultimate” fan letter to Curt. You’re super! From the collection of Raúl Wrona, submitted by Eddy Zeno. Superman TM & © DC Comics.

Gratitude is extended to editor Michael Eury for providing the chance to revisit a most friendly subject ten years after compiling the book, Curt Swan: A Life in Comics (Vanguard Productions). It was an opportunity to reestablish contact with the artist’s youngest daughter, Cecilia Swan Swift, as well as a new chance to ask some

celebrated professionals who were inadvertently left out of the 2002 biography how they felt about the legendary penciler. With special thanks to: Denny O’Neil, Paul Levitz, Al Plastino, Bob Rozakis, Alex Ross, Joe Rubinstein, and Michael Uslan. And with appreciation to Kurt Busiek and Jerry Ordway for their behind-the-scenes help.

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Back-ups on the Frontlines A montage of cover blurbs promoting various back-up series in the pages of Superman, from issues: (top row) #357 and 360; (2nd row) #238 and 239; (3rd row) #267, 356, and 354; and (bottom) #358. Art for each is by Ross Andru and Dick Giordano, with the exception of the Krypton one on the third row, which was penciled by Rich Buckler and inked by Giordano.

Philip Schweier

TM & © DC Comics.

We’ve all seen the cover. Superman, drawn by legend Neal Adams, shattering green chains, with the caption “Kryptonite Nevermore!” It’s been a comic-book historical landmark practically from the day it hit the stands. Superman #233 (Jan. 1971) is significant not only for its iconic cover, but also because it heralds the beginning of Julius Schwartz’s tenure as editor of the Superman titles. As the architect of the DC Comics’ Silver Age, no one was more qualified to take over Superman and reach out to new audiences. “Julie was always looking to innovate,” says longtime Superman writer Cary Bates, “especially when first taking over the reins of a book.” Toward this end, Schwartz opted to broaden the Man of Steel’s supporting features. These back-up stories allowed a great deal of creative freedom for Schwartz’s stable of writers, which included Bates, Elliot S! Maggin, and Bob Rozakis. Rozakis, who served as Schwartz’s assistant, explains that Schwartz had been doing back-ups in other titles, such as Elongated Man in The Flash. “I think he basically just wanted something a little different, rather than just another story with the same character,” says Rozakis. Maggin describes Schwartz as a “let’s try this” kind of guy rather than a long-term planner. “When Mort Weisinger ran all of the Superman books he put a long-term strategy into play, consciously introducing a new major concept every six months and giving each one a good two years to cement itself into the legend,” he explains. Maggin goes on to say that Schwartz wanted to try out a few ideas related to Superman in the same way. So “The Private Life of 38 • BACK ISSUE • Superman in the Bronze Age Issue

Clark Kent” and “The Fabulous World of Krypton” were meant to support and build on the overall mythology.

THE FABULOUS WORLD OF KRYPTON Schwartz had always been a fan of science fiction. He helped form one of the earliest science-fiction clubs with uber-fan Forrest J. Ackerman, and also served as Ray Bradbury’s first literary agent. So it should come as no surprise that the first back-up feature to debut in Superman #233 was “The Fabulous World of Krypton,” described as “Untold Stories of Superman’s Native Planet.” E. Nelson Bridwell wrote the first “Fabulous World of Krypton” story, “Jor-El’s Golden Folly,” which chronicled the initial meeting between Superman’s birth parents, Jor-El and Lara. Bridwell, who had been Weisinger’s assistant editor on the Superman titles for many years, was a walking, talking encyclopedia of Superman lore. “As anyone who knew Nelson would tell you, his photographic memory and the encyclopedia-level knowledge he had on a vast range of subjects was amazing,” says Bates. “Of course, this expertise also extended to DC lore, so Julie and those of us writing could always count on him to answer any and all questions regarding Superman continuity.” Rozakis adds, “He was definitely valuable to Julie and the writers when there was something going on that referred to prior issues or something like that. Usually with Julie it came down to what made the better story, and if tying into old continuity didn’t affect the story,

or helped it, he’d say, ‘Sure, go ahead.’ But if it was something that bogged down what he wanted to do, or what the writer had planned, he’d say, ‘Forget it.’” Some of the “Fabulous World of Krypton” stories covered familiar ground, such as Jor-El and Lara, or the Phantom Zone. Others explored Kryptonian lore, such as the meaning behind the headbands worn by Kryptonian citizens. Most used a framing device, in which the tale is shared between two characters, such as Superman and Supergirl, or Lara and the infant Kal-El. One story is not related to any Superman character but to the Guardians of the Universe. In “The Greatest Green Lantern of All” from Superman #257 (Oct. 1972), they explain to Green Lantern Tomar Re why Krypton’s destruction was necessary, and his efforts to save the doomed planet were ignored. According to the story credits, the idea was conceived by Neal Adams, but fleshed out by writer Elliot S! Maggin. It is this story that Maggin first features the English translation of Kal-El: “star child.” “One advantage the Krypton stories had was the fact they were unique one-offs that allowed for more artistic freedom than most other stories,” says Bates. “Thus the scripts could appeal to artists not normally associated with DC superhero books at the time (Kaluta and Morrow being two examples).” Artist Gray Morrow collaborated with Bates on “A Name is Born” in Superman #238 (June 1971). The story explained how the planet had been claimed by two rival astronauts, a male named Kryp and a female named Ton. Michael Kaluta illustrated “The Man Who Cheated Time” in Superman #240. A scientist perfects time travel, using the technology to journey to Krypton’s future, only to fatally discover the planet has no future. Still, some ideas introduced earlier in Superman’s timeline were developed later, as in the case of Nam-Ek, a Kryptonian scientist who broke the law by killing a rondor, a beast whose horn had miraculous healing properties. Nam-Ek hoped to use the horn to develop a panacea, but when he tested the serum on himself, it mutated him into an immortal half-rondor. His immortality enabled him to survive the destruction of Krypton, leaving him a shattered creature floating in space. Writer Martin Pasko introduced Nam-Ek in “The Loneliest publisher added eight more Man in the Universe” in Superman story pages, in an effort to add value #282 (Dec. 1974), then brought to the price increase. him face to face with the Man of Steel Once again, the door was open in “Plague of the Antibiotic Man” in to back-up features, and the Superman #311 (May 1977). “Fabulous World of Krypton” returned A total of 21 Fabulous World in Superman #352 (Oct. 1980). cary bates of Krypton stories were published Unfortunately, Krypton’s resurrecbetween Superman #233–286 (Jan. tion would be short-lived, lasting for 1971–Apr. 1975). During much of five installments before ending with this time, the average price of the book had skipped “Last ‘Scoop’ on Krypton” by Bob Rozakis and Gil around, from 15 cents to 25 cents, then to 20 cents, but Kane in Superman #375 (Sept. 1982). by Superman #300 (June 1976), the price had climbed to 30 cents. Page counts were juggled in order to give THE PRIVATE LIFE OF CLARK KENT readers their best value. Many of the back-up features Another common back-up feature in the Superman were eventually dropped from the pages of Superman. titles was “The Private Life of Clark Kent.” In these The next “Fabulous World of Krypton” story was “The adventures, Superman took a back seat to his alter ego, reminding readers that in spite of his superpowers, Stranger” in Superman Family #182 (Mar.–Apr. 1977). The price climbed once more to 40 cents, and Clark Kent could have adventures of his own. “Julie was very strong in the areas of both plot and when DC Comics raised its cover prices to 50 cents beginning with Superman #351 (Sept. 1980), the characterization,” says Maggin. “He wanted to see that

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Good Golly, Jor’s Folly Page 1 of the first “Fabulous World of Krypton” tale, from Superman #233 (Jan. 1971). By E. Nelson Bridwell and Murphy Anderson. TM & © DC Comics.

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At Work and At Home Writer Elliot S! Maggin explores two different aspects of Clark Kent’s private life in these 1973 tales from (left) Superman #267 (art by Swan and Oksner) and (right) issue #270 (art by Anderson). TM & © DC Comics.

pretty much every story he edited had a solid decision, No artist is more identified with Superman than Curt conflict and resolution. But the overall point of the back-ups, Swan, regarded by many fans and professionals alike as especially the Clark Kent series, was to allow the reader to THE Superman artist. “During his long career Curt in get to know the characters better. In a six- or eight-page fact probably drew more Superman stories than anyone story either of these intentions was else, and I’m proud that so many of difficult to pull off, and doing both them were mine,” says Bates. was a bitch-and-a-half.” “One of things I came to Rozakis, who crafted several look forward to the most of the “Private Life” stories, when I began writing for explains, “Sometimes it was a DC was seeing Curt’s pencils matter of ‘Everybody does this,’ when they’d come in,” Bates so what would happen to Clark? continues. “They were so finely Like maybe doing laundry. There detailed, they could’ve almost isn’t much story there, so we had to been published without inks.” develop some sort of a plot, usually Rozakis suggests, “I think [Swan] something that would be easy to do was taken for granted because he and resolve in eight pages. I did one defined what Superman looked like. where Clark had to donate blood, and “The thing about it is that you elliot s! maggin another involving the kid downstairs could always tell what Superman who delivered the newspaper. I tried looked like, no matter what angle to think, ‘Okay, if he’s just a normal he drew him from,” he adds. “With guy, what would be going on in a normal day?’” Curt, that’s what Superman looks like—you could tell Such assignments also proved suitable for young from the back, you could tell from the side, you could artists just breaking into the business, or seasoned tell from the front.” veterans looking for a quick assignment. According to According to Rozakis, Swan penciled two pages a Bates, art assignments were almost always handled by the day. “Occasionally, if they needed him to push, he’d editor. “More often than not the back-up series didn’t do three. But he’d do two pages a day and when he have long-term artists,” he says, “so the writers often finished he would do whatever else he wanted to do, wouldn’t know who would be drawing their scripts.” play golf or work around the house or whatever.”

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Delivery by Batarang The Kents get an unusual wedding invitation in this tale from Superman Family #211 (Oct. 1981). Script by ENB, with art by Schaffenberger and Adkins. TM & © DC Comics.

Swan illustrated the first installment of “The Private Life of Clark Kent” in Superman #247 (Jan. 1972), as Kent helps a troubled youth who has become involved in a street gang. Kent later puts his investigative skills to use in Superman #254 (July 1972) and to shadow his enigmatic neighbor Mr. Xavier in Superman #258 (Nov. 1972). According to Maggin, when Schwartz came up with the idea for the series, he asked Len Wein to come up with a string of people to live in the apartment building. “Len wrote a long memo just listing them and who they were,” Maggin says. “There were characters in Clark Kent’s apartment that lived in Len’s apartment complex in Queens, and I never knew that until I got invited to a party at Len’s place. “Despite who wrote their first stories, Len was the real creator of most of these characters: the Marigold twins, Mr. X, and so forth. I don’t think Len’s ever really gotten credit for that stuff—probably because no one much remembers.” In addition to Kent’s neighbors, the series also expanded more on some of Clark’s co-workers, such as Morgan Edge and Steve Lombard. Perry White was featured in “The Last Headline,” in Superman #280 (Oct. 1974), written by Martin Pasko, who took the opportunity to tap into matters that were already in the public eye at the time. In the mid-1970s, many companies instituted a policy of mandatory retirement for those 65 and older. Naturally, many people, young and old, opposed such policies. This story featured the staff of the Daily Planet going to bat for Perry as Morgan Edge tried to force him out. Further tapping into a hot topic of the day, Pasko also featured a thinly veiled Mason Reese-type character in Superman #285 (Mar. 1975). Cute and cuddly as a Cabbage Patch Kid, Reese was a child actor who seemed to be everywhere on TV in those days. In “The Kid With the Million Dollar Smile,” Kent encounters Jason Fleece, an intolerable child actor whose stage mother MR. AND MRS. SUPERMAN has pushed him in front of the cameras to the Throughout the 1950s and ’60s, Superman point where the boy rebels. Kent discovers Jason comics had occasionally featured “imaginary would love nothing more than to be a normal boy, stories” of Superman and his wife. Sometimes it playing baseball with his friends. When a stray ball was Lois, sometimes it wasn’t. But in Action Comics damages Jason’s smile, he’s allowed to retire to a #484 (June 1978), a new tale, “Superman Takes a much happier lifestyle. Wife,” of Superman’s actual marriage, was told Alternating with the “Fabulous World of Krypton” len wein in celebration of the 40th anniversary of his whenever space allowed until Superman #294 debut. And appropriately enough, the story took (Dec. 1975), “The Private Life of Clark Kent” eventually place on Earth-Two, where lived the original jumped ship, moving over to Action Comics, beginning Golden Age Superman. There, Lois and Clark worked for the in #459 (May 1976). Five more stories appeared over the next year and half, following the adventures of Clark Kent. He dodges the Metropolis Daily Star under editor George Taylor. [Editor’s note: constant attention of an Australian colleague assigned to him by See this issue’s article on the Earth-Two Superman for this character’s Morgan Edge, helps the children of the Smallville Orphanage, and Bronze Age history.] The story, written by Cary Bates, involves the Wizard using foils the efforts of a pickpocket out to steal a winning lottery ticket. magic to make Superman disappear. Yet Clark Kent remains, separated In mid-1978, DC Comics raised its cover price once more to 50 cents, promising “More Pages! More Action!” and raising the page from his Superman persona, and without the Man of Tomorrow to count from 32 to 40. “The Private Life of Clark Kent” returned for distract her, Lois and Clark fall in love and marry. Later, Lois discovers a single outing in Superman #328 (Oct. 1978) before DC Comics Clark seems to have forgotten he is Superman. She’s able to convince dropped its cover price from 50 cents to 40 cents, and the page count the Wizard to bring Superman back, but afterward she’s prepared to as well from 40 to 30, beginning with issues cover-dated Dec. 1978. leave Superman, believing that he would never have married her The feature then moved to the pages of Superman Family while he had his memory. He convinces her otherwise, and in secret, beginning with #195 (May–June 1979). The series was a mainstay of they marry in Kryptonian fashion, agreeing that as far as the public is that title until #215. Most of the stories were written by Bob Rozakis concerned, Lois is married to Clark, not Superman. “That story is one of my personal favorites, and over the years and illustrated by a host of artists, of which Kurt Schaffenberger and it’s been reprinted and collected several times,” says Bates. “I don’t John Calnan were the most common. Following its departure from Superman Family, the feature made believe it was originally intended as the kick-off for another back-up series. But it’s quite possible the positive reader response could’ve one final appearance in Superman #373 (July 1982). Superman in the Bronze Age Issue

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The New World’s Finest Duo Original artwork to the “Bruce (Superman) Wayne” back-up from Superman #363 (Sept. 1981), courtesy of Heritage Comics Auctions (www.ha.com). By Rozakis/Buckler/Giella. TM & © DC Comics.

influenced Julie’s decision to devote more stories to the happy couple.” “Mr. and Mrs. Superman”’s next appearances would be in Superman #327 (Sept. 1978) and #329 (Nov. 1978) before the feature, written by Bates and drawn by Kurt Schaffenberger, would move into the pages of Superman Family beginning with #195 (May–June 1979). E. Nelson Bridwell took over scripting chores starting in Superman Family #199 (Jan.–Feb. 1980). After skipping the 200th issue, “Mr. and Mrs. Superman” was a mainstay in Superman Family until the title came to a close with #222 (Sept. 1982). The stories featured appearances by Earth-Two characters such as Johnny Thunder and the original Mr. Mxyztplk [note spelling—ed.], and included the retirement of Daily Star editor George Taylor. Kent was tapped to take his place. Most of the art was provided by Schaffenberger and inked by a number of artists, such as Frank Chiaramonte, Joe Giella, and Dan Adkins.

BRUCE (SUPERMAN) WAYNE When DC Comics raised its price from 40 cents to 50 cents beginning with Superman #351 (Sept. 1980), it added eight additional pages of story, and in so doing revived earlier back-up features but also created new ones. The first of these to see the light of day was “an exercise in imagination” by Bob Rozakis, Curt Swan, and Frank Chiaramonte starring “Bruce (Superman) Wayne” in Superman #353 (Nov. 1980). Rozakis explains, “We were kicking around different ideas and Julie or I came up with, ‘What if somebody else had adopted Kal-El?’ We went to that with, ‘Well, suppose he had been adopted by the Waynes instead?’” In the story, infant Kal-El’s rocket lands in the marsh outside Gotham City. The child is adopted by Dr. Thomas Wayne and his wife Martha, and is named Bruce. As Bruce’s powers begin to manifest, they come in handy against local mob boss Lew Moxon. Lt. Jim Gordon is able to pin the goods on Moxon and put him away, and with Gordon’s help, Bruce decides his powers could be best used to fight crime. The feature would be seen only two more times, in stories entitled “A Day in the Life of Bruce (Superman) Wayne” by Rozakis, Denys Cowan, and Dick Giordano in Superman #358 (Apr. 1981); and “A Night in the Life of Bruce (Superman) Wayne” by Rozakis, Rich Buckler, and Joe Giella in Superman #363 (Sept. 1981). Bruce develops a relationship with Barbara Gordon, whom he later marries. Revealing his secret, she convinces him to hang up his cape and devote his brilliant mind to scientific research. But when Commissioner Gordon is slain by Lew Moxon, Barbara dons the familiar black-and-yellow costume she’d created and rushes out into the night as Batwoman. And even in this “imaginary” universe, criminals are a superstitious and cowardly lot. Moxon flees at the sight of her, into the path of an oncoming truck. “I think it just ran its course,” muses Rozakis. “It was an interesting idea, but it’s not something we wanted to develop into an ongoing series of some sort. I suppose if I had come up with another one we would have done it, but it wasn’t something that made us want to do it forever.”

SUPERMAN 2020 The second back-up feature to debut in 1980 was “Superman 2020,” which ran for seven installments beginning with “The Debut of Superman III” in Superman #354 (Dec. 1980). It featured the grandson of the original Superman as he protected the floating city of New Metropolis. Unlike his forebears, the grandson of the original Superman had multiple alter egos, killing off his Kent persona in his first adventure. Later, he adopted the identities of traffic controller Jon Hudson and tennis ace Lewis Parker. Subsequent stories pitted the youngest Superman against the Purists, an Earth-supremacy group; united the three Supermen to counteract an age-old plot of Lex Luthor’s; and introduced Lois and Clark, the twin grandchildren of Jimmy Olsen. Superman III’s final outing was in Superman #372 (June 1982) by Bob Rozakis and Gil Kane.

SUPERMAN: THE IN-BETWEEN YEARS Superman #359 (May 1981) saw the launch of “Superman: The In-Between Years,” which may have been inspired by “The Fiend with Nine Faces,” from Superman #351 (Sept. 1980). College classmates of Clark Kent became unwitting pawns in a post–hypnotic

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Hero in Transition Bob Rozakis’ short-lived “Superman: The In-Between Years” bowed in (left) issue #359 (May 1981, cover by Dave Cockrum and Giordano). BobRo continued the concept in the fourissue miniseries (right) Superman: The Secret Years— and yes, that is a Frank Miller cover! TM & © DC Comics.

suggestion of an old college professor. Letters from readers were very favorable and later, DC Comics introduced the first of a series of explorations of the college years of the Man of Steel. Rozakis felt at the time the Man of Steel’s transitional years had been unexplored. “Here’s a four-year period between leaving Smallville after high school and getting his job at the Daily Planet that nobody’s ever done anything with,” he explains. “So it was like, ‘Oh, boy. Here’s a whole new playground with Superman in it, an established character, that I can play with and nobody else is going to bother me.’” Beginning in Superman #359, Rozakis launched the series with Superboy’s departure from Smallville and arrival at Metropolis University. As the series progressed readers were introduced to Lt. Bill Henderson and future Daily Planet editor Perry White, as well as Clark’s roommates Tommy Lee and hipster Ducky Ginsberg. A total of six In-Between Years stories were published, the final installment being “Pete Ross’ Crowning Achievement,” in Superman #374 (Aug 1982). Most were drawn by Kurt Schaffenberger, who may not have been as closely identified with Superman as Curt Swan, but he probably came closer than anyone else. He had been illustrating the Boy of Steel in The New Adventures of Superboy, so it made sense for him draw the In-Between Years as well. “I don’t think their styles were that different,” argues Rozakis. “I think Shaffenberger’s was a little slicker looking, particularly when he inked himself. There was a smoothness to his versions of the characters. I don’t think there was any question as to which was a Swan Superman or a Schaffenberger Superman, but it was the same character.” Following the back-up series, Rozakis retitled the concept as The Secret Years and proposed a 12-issue maxiseries, with three issues for each of the four years. Once again, Rozakis suggested Swan and Schaffenberger collaborate on the art. “When I did The Secret Years, I wanted the two of them together,” he says. “Schaffenberger was more of the Lois Lane artist, and then later he became the Superboy artist. So when he was doing Superboy and Curt was doing Superman, it seemed logical to me that they work together on The Secret Years, which was the transition from Superboy to Superman.”

However, at the time, DC Comics was already negotiating with John Byrne to take over Superman, so Rozakis had to squeeze it into four issues, each chapter covering one of Clark’s four college years. Today, Rozakis cites lesser writing as a factor in dwindling readership. “I think if you go back and look at some of the stuff that was published in the 1960s, you’ll find that there’re stories that have more words on a single page than a lot of comics published today have in a 22-page story,” he says. “Go back and look at some of the books from when we had back-up features and there were complete stories in the book, sometimes as many as three complete stories in the book. There’s an awful lot that was done in a six-page story.” “I will say writing eight-page stories seems to be a ‘lost art’ these days,” Cary Bates adds, “though DC has made strides in reintroducing the back-up series concept in recent years. In many ways, they’re more difficult to write than issue-length stories. This made them a great training ground for new writers, who would often have to prove themselves writing eight-pagers before they could score lead assignments.” Elliot Maggin agrees: “If you can fit a real story into the space that’s allocated, then you’re a writer. If all you can do is spew out script pages in long story arcs that continue for months on end, you’re a typist.” Writers today might cite the need for greater characterization, but it could be argued when it comes to iconic superhero characters such as Superman, there’s very little territory that hasn’t already been covered. Not every adventure is a grand battle for the security of the universe. As many of the back-up stories from the 1970s and ’80s demonstrate, some of the best stories are compact nuggets of entertainment. PHILIP SCHWEIER is a 40-year comic-book fan who, as a child, wanted to be Superman. As an adult, he settled for Clark Kent, working in the newspaper industry for more than 20 years. He lives in Savannah, Georgia.

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If you believe a man can fly, you’ll believe that a boy and girl can fly, too. And maybe you’ll buy spin-off comic books featuring them, and even a series starring the whole family. If you’re DC Comics, you won’t just smolder at the idea of rival Fawcett’s success with Captain Marvel, Jr., Mary Marvel, and the united Marvel Family. You’ll persist in lawsuits over Captain Marvel being a copy of Superman, reaching a settlement and driving Fawcett out of the superhero business in 1953. And then you’ll start forming a Superman Family of your own. Technically, the family had been forming since the mid-1940s when DC began chronicling Superman’s childhood exploits in More Fun Comics, Adventure Comics, and Superboy. It began expanding in earnest once the Adventures of Superman TV series premiered in 1952 and made household names of Daily Planet editor Perry White and his best reporters. By 1954, there was a Superman’s Pal, Jimmy Olsen comic book, capitalizing on Jack Larson’s portrayal of the teenage Daily Planet cub reporter. Superman’s Girl Friend, Lois Lane wasn’t far behind, with a pair of 1957 tryout issues (Showcase #9 and 10) preceding the comic book’s 1958 debut. Otto Binder, a major Fawcett writer on titles like Marvel Family, wrote both DC spin-offs almost exclusively and couldn’t help but be amused when editor Mort Weisinger assigned him to develop a series starring Superman’s female teenage cousin in 1959’s Action Comics #252. Upon his arrival at DC a few years earlier, Binder told Martin Greim in Comic Crusader #15 (1974), “Mort kept pooh-poohing Captain Marvel, saying it was a bunch of junk. Mary Marvel was a crazy idea! So, a couple years went by and one day Mort said to me, ‘I’ve got a great idea! … Supergirl!’ Of course, I didn’t say, ‘You don’t mean Mary Marvel, do you, Mort?’ To me, it was like reliving the past.” Weisinger’s Super-titles of the late 1950s and early 1960s burst with creations and concepts that were nurtured and revisited as the decade wore on. Bizarro and, more successfully, the Legion of Super-Heroes each earned spin-off series in Adventure Comics while Krypto the Superdog and Superbaby starred in periodic tales in Superboy. By 1962’s Superman Annual #5, the editor was referring to this extended group of players as the Superman Family and united the most prominent on a Curt Swan/George Klein-illustrated back cover for Annual #6. By 1973, the Weisinger glory days were over by two years and his Superman Family estate was presently divided amidst multiple editors. DC had rushed into the decade with hopes of modernizing the franchise— whether scaling back the Man of Steel’s powers in Superman or employing Marvel Comics superstar Jack Kirby to reenergize Jimmy Olsen—but seemed to get cold feet when sales didn’t bear out their enthusiasm.

Family Ties A merger of Neal Adams and Kurt Schaffenberger art for a late-1976 house ad trumpeting Superman Family’s format change. Special thanks to John Wells for providing this article’s illustrations. TM & © DC Comics.

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John Wells

Cleaning House (top trio) Lois, Jimmy, and Supergirl’s respective last issues prepped readers for their new home in SF (Supergirl #10’s Superlad was a clone of the Girl of Steel!). (bottom) A Superman Family staple was the next-issue blurb, like this one from #164. TM & © DC Comics.

Consequently, most of the books dropped their Marvel-style subplots and serialization in favor of more episodic fare, albeit with a more serious tone than the preceding Weisinger era. Editor Julius Schwartz was managing the approach well in the core Action Comics and Superman titles, as was editor Murray Boltinoff in Jimmy Olsen. The prominent misstep was folding DC’s three female adventure comic books (Wonder Woman, Lois Lane, and the new Supergirl title) into editor Robert Kanigher’s dying romance line. As the latter three books teetered on the edge of cancellation, Schwartz was assigned to revamp Supergirl (effective with issue #11) and Wonder Woman (with #212) while Boltinoff prepared to take over Lois Lane with issue #138. Meanwhile, having struck gold by reintroducing the Legion of Super-Heroes in Superboy, Boltinoff made the 30th-Century team the virtual stars of the book effective with issue #197 (Sept. 1973). All of this played out as comic-book sales in general were struggling. Retailers were progressively balking at giving shelf space to insubstantial 32-page comic books that generated little profit. Among DC’s responses to the dilemma were 100-Page Super-Spectaculars, thick, ad-free 50-cent comic books composed almost entirely of reprints that netted a higher ring for merchants.

WE ARE FAMILY After two years of trying out the format, publisher Carmine Infantino rolled the dice. At the start of 1974, a dozen ongoing DC titles were converted to Super-

Specs—now priced at 60 cents and containing ads— with 20 new story pages (the same amount as in a standard comic) leading off a thick bloc of reprints. Virtually every comic book featuring Batman became a 100-pager, but DC resisted doing the same with Superman on a regular basis, perhaps fearing irreparable harm to their bestselling hero’s sales if the experiment failed. Instead, a new/old ongoing comic book went on sale in January: The Superman Family. It was the answer to a prayer. The Superman spin-off titles represented properties that DC considered too valuable to discontinue, but Jimmy Olsen, Lois Lane, and Supergirl were struggling to sell on their own. Superman in the Bronze Age Issue

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Legion of Logos New logos for Super-supporting cast members were created for Superman Family reprints, rebranding Superman and Superboy adventures.

The solution represented by Superman Family was this: found renewed exposure via the reprints, with the latter Each member of the trio would appear in new stories two returning in new stories (Action Comics #440–441 on a rotating basis with the expectation that the title’s and Superman #283, respectively) before 1974 ended. expanded focus would attract a greater readership. Superman Family debuted with Jimmy Olsen in the With the new book’s bimonthly schedule, that would lead, even continuing his old series’ numbering (#164: mean only two new issues per year for each feature, Apr.–May 1974). Boltinoff’s Olsen had been the most but it beat the alternative. stable of the three canceled titles, It’s a measure of how dire Lois benefiting from Leo Dorfman’s Lane and Supergirl’s sales were solid scripts and Kurt that, coupled with a nationSchaffenberger’s crisp artwide paper shortage, DC work that characterized pulled their final Kanigherthe former teen journalist edited issues (#137 and #10, as a sharp-witted adult crime respectively) off the Fall 1973 reporter. Superman Family schedule altogether, along with carried over characters like police other marginal titles. (They eventually detective Corrigan and villainess appeared the following summer.) Diana Savage. Along with the new lead Dorfman’s 1974 death led story, Superman Family (with a to Cary Bates taking over the logo designed by Gaspar feature effective with issue #173 kurt schaffenberger Saladino) featured reprints (Oct.–Nov. 1975). In contrast starring the other two rotating to his predecessor’s typically leads and a mix of other “family” earthly threats, Bates preferred members. Effective with the second issue, assistant pitting Jimmy against science fiction-based menaces editor E. Nelson Bridwell began commissioning new that could pose a challenge to Superman, as well. logos for these latter reprints. Stories that originally The young writer also delighted in revisiting characters sported the Superman or Superboy name plate on their from the 1960s, whether Nightwing and Flamebird splash pages now had specialized titles like Brainiac, (the costumed aliases used by Superman and Jimmy Krypto the Superdog, Lucy Lane, Mr. Mxyzptlk, Pa Kent, in the bottle city of Kandor) or Olsen’s old girlfriend Perry White: Daily Planet Editor, Pete Ross: Superboy’s Lucy Lane. Pal, Superbaby, and Superboy’s Girl Friend, Lana Lang. Boltinoff retained Bates and artist John Dormant characters like Bizarro, Krypto, and Rosenberger on the Lois Lane feature but initiated a Mxyzptlk—deemed too lightweight for the 1970s— change of direction, one that aggressively emphasized

TM & © DC Comics.

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Lois as an adventurer in her own right. Superman Family #166 (Aug.–Sept. 1974) added another sideline to the very busy journalist’s life, that of Secret Intelligence Agency operative. Fellow agent and would-be love interest Simon Cross perished in the first installment but lingered as a protective ghost for issue #169’s sequel. The secret-agent angle, conceived to bolster a Lois Lane solo comic, was deemed unnecessary in the umbrella title and subsequent installments simply revolved around the character’s news assignments. In the sort of high concept that the Weisinger era was famous for, Bates’ plot for issue #172 hinged on Lois seemingly falling in love with Lex Luthor and preparing to marry him. Tapping into the popularity of the Six Million Dollar Man TV series, issue #178’s episode transformed Lois into a “Bionic Girl” with horrifying results. (Issue #181’s letters column insisted “this story was written many months before ABC’s ‘Bionic Woman’ hit the airwaves!”) As supporting characters in the primary Superman series, Lois and Jimmy couldn’t really undergo substantial revamps in their solo strips. Supergirl was another matter. Since her creation, the character had been the member of the Superman Family most amenable to change. She’d aged from a teenager to college graduate before entering the work force as part of a San Francisco TV crew in Adventure Comics during the early 1970s. The short-lived 1972–1973 Supergirl comic book undercut that, sending Linda Lee Danvers

to acting school and, in its most uncomfortable moments, transforming her into a cheesy romance heroine prone to crying over boys. The editorial desire to make Supergirl appear younger and more distinct from her famous cousin was executed far more effectively in the Schwartzedited revamp that began in Superman Family #165 (June–July 1974). Incoming writer Elliot S. Maggin opened the issue by sending Linda to a new school, albeit one where she’d serve as a faculty member rather than a student. As advisor to teenage girls at Florida’s New Athens Experimental School, Linda hoped to affect lives more directly than she’d been accomplishing as Supergirl. In the Art Saaf-penciled first issue, for instance, the Girl of Steel defeated the superpowered Princess of the Golden Sun, but took greater satisfaction in helping a girl deal with a parental custody battle. The following installments (#168 and #171) more successfully integrated plots involving troubled girls with Supergirl’s adventures—guest-starring Linda’s psychic friend Lena Thorul and costumed counterpart Batgirl, respectively—but the scale inevitably got larger. Davy Tenzer, a mysterious immortal based on Michelangelo’s statue of the Biblical hero David (and recently introduced in a Maggin-scripted Green Arrow and Black Canary adventure in Action Comics #450–452), showed up in issue #174 to help the Girl of Steel thwart a serpent-man from claiming Earth for his reptilian race. Superman in the Bronze Age Issue

Maids of Might (left) One-pagers like the E. Nelson Bridwell-scripted “Supergirl’s Career!” (from Superman Family #165) peppered the series. The art was cobbled together from earlier tales. (right) Superman’s Girl Friend gets her kicks in the Lois Lane tale (by Bates and Rosenberger) from #166 (Aug.–Sept. 1974). TM & © DC Comics.

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FAMILY CIRCUS Each of the Superman Family stars debuted with artists carried over from their previous series, but one illustrator rose to the top. As of mid-1975’s Lois Lane story in Superman Family #172, Kurt Schaffenberger was the official artist on all three rotating features. With a career extending back to the 1940s, Schaffenberger defined the look of Lois Lane for much of the 1960s. Whether it was office politics or a cartoony style that someone deemed out of fashion, the artist had been virtually shut out of DC after Mort Weisinger’s retirement. His return in Jimmy Olsen #154 demonstrated that he’d lost none of his prodigious skill. Moreover, it was a look that was both classic and modern. Ultimately, with two reprints included in the count, he was represented in 40 of the book’s 49 issues and, along with E. Nelson Bridwell, was the only creator represented in the series’ first and last issues. If Kurt Schaffenberger was Superman Family’s public face, Bridwell was its secret guardian. His familiarity with the intricacies of DC’s continuity was unsurpassed and, having begun working as Mort Weisinger’s assistant in 1964, he had unique insights into Superman’s rich history. As Boltinoff and Schwartz’s assistant editor, Bridwell reviewed each issue’s new story and looked for a common theme or element that would bind the reprints filling the rest of each giant issue. Superman Family #175’s Supergirl story featuring Lena Thorul, for instance, prompted a selection of classic stories dealing with mental powers, while a Lois Lane story featuring the niece of Galaxy Broadcasting head Morgan Edge (SF #175) was followed by reprints like “Supergirl’s Big Brother” and “Perry White, Jr., Demon Reporter.” Aware that one of his own creations—Lana Lang’s Insect Queen persona—was due for revival in Superboy #205, Bridwell had her 1965 origin reprinted in Superman Family #167 one month earlier. Bridwell’s contributions went beyond reprint selection. In an era before Wikipedia, he expanded young readers’ knowledge of Superman’s history through illustrated features like an overview of Supergirl’s career (issue #165), Superman Family Fact Files (issues #166–167), “Super-Pets and Super-Threats” (#167), and “The Superman Family Album” (#172). Demonstrating the skills that earned him early script sales to MAD in the 1950s, Bridwell also devised “Comedy Cover Capers” pages (#168–169, 171) that featured humorously re-dialogued art from earlier issues.

Déjà vu (left) An introduction “by” Jimmy Olsen and the supplanting of a Lucy Lane logo redressed this oldie for Superman Family #167 (Oct.–Nov. 1974). (right) That tale as it was originally seen in Superman’s Pal, Jimmy Olsen #67 (Mar. 1963). TM & © DC Comics.

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Reaction to the merger of the three spin-off titles was initially mixed. An “extremely unhappy” Scott Gibson opined in issue #167’s letters column that “it’s certainly a come-down forced to share one bimonthly magazine, each character appearing only twice a year in new stories.” Later on the page, Mickey Eury [today BACK ISSUE editor Michael Eury] declared Superman Family #164 to have been “a complete disappointment. The cover was great, the colors eye-catching, but it was an awful issue.”

FAMILY DOLLAR Sales placed them in the minority, with issue #181’s letters column affirming the title as “one of the best-selling comics in the DC line.” When DC abandoned the 100-Page Super-Spectacular format in 1975, Superman Family was the only ongoing title that didn’t revert to the 32-page format. It did shrink, though, to a slimmer 64-page package now priced at 50 cents effective with issue #170 (Apr.–May 1970). Encouraged, Carmine Infantino decided to see if lightning would strike again and ordered a trio of companion titles—Batman Family, Super-Team Family, and Tarzan Family—that debuted in the summer. [Editor’s note: We’ll be exploring Super-Team Family in BI #66, our “Team-Ups” issue.] Any further plans on Infantino’s part were quashed when Jenette Kahn replaced him as DC’s publisher in early 1976. Though she disliked using reprints as filler, Kahn shared her predecessor’s conviction that a more substantial comics package was necessary to win retailers’ rack space. She envisioned a thick 80-page package that cost roughly the same as three 35-cent comic books but had the story pages of four. And those pages would be all new. This was the Dollar Comics line and Superman Family was on the front line of another new initiative, joining House of Mystery on Dec. 13, 1976 as one of the format’s first issues. Beneath a lovely cover by Curt Swan and Neal Adams featuring Superman, Lois, Jimmy, Supergirl, and Krypto, Superman Family #182 (Mar.–Apr. 1977) revealed some trepidation on the part of new editor Denny O’Neil. The book’s three stars each received their own stories (Jimmy even got two) as did Superbaby, Krypto, and “The Fabulous World of Krypton,” but most of it seemed unremarkable, as if no one quite knew how to fill the space in the family’s roomy new home. There were some visual highlights, though, courtesy of newcomer pencilers Marshall Rogers (on a holiday-themed Krypton story by Paul Kupperberg—his very first DC assignment) and Mike Vosburg (on the

Jack C. Harris-scripted Supergirl adventure). The latter tucked in an in-joke that depicted Jenette Kahn and DC executives Jack Adler and Joe Orlando celebrating the touchdown of a spacecraft that doubled as their elation over the lift-off of the Dollar Comics line. (In his tenure as Superman editor, incidentally, Julius Schwartz had previously built up a roster of prospective back-up series. They began with “Fabulous World of Krypton” and “The Private Life of Clark Kent” in the early 1970s and extended to a series of 1976–1977 shorts in Action Comics starring members of the supporting cast like Krypto, Morgan Edge, Lori Lemaris, Steve Lombard, Mr. Mxyzptlk, and Perry White. Once the O’Neil-edited Dollar Comic was up and running, Schwartz phased out the back-ups.) The expanded lineup solidified with issue #183. Along with Lois, Jimmy, and Supergirl, each issue would include Krypto, Nightwing and Flamebird, and (since his name was in the title) a short story starring Superman himself, as of issue #184. Martin Pasko, then writing a highly regarded run on Superman, scripted the initial two Schaffenberger-illustrated shorts, using the space to respectively revive the Prankster and examine Lois Lane and Clark Kent’s relationship in a particularly clever story. Gerry Conway succeeded Pasko with a two-parter that united Superman with his whitetempled Earth-Two counterpart (#186–187).

EXTENDED FAMILY Among the new voices in Superman Family was Tom DeFalco, who wrote Jimmy Olsen, Lois Lane, and Superboy (beginning in issues #185 and 191, respectively). “I was writing for Archie Comics and had done some custom comic work for Joe Orlando and Paul Levitz,” DeFalco tells BACK ISSUE. “Joe seemed to like my stuff and gave my name to Denny O’Neil, who was editing a love comic at the time. Denny gave me an

assignment [published in Young Love #126] and must have liked what I did because he soon offered me a chance to write Jimmy Olsen in Superman Family. I think he gave a two-week deadline for the first story. “However, during the course of those two weeks, Denny decided to go freelance,” DeFalco continues. “When I showed up with the story, I was informed that E. Nelson Bridwell was the new editor for Superman Family, and he already had a writer for Jimmy Olsen. However, since Denny had commissioned my story, Nelson agreed to read it. As soon as he finished it, he left me sitting in his office and went off to confer with Julie Schwartz. Nelson returned a few minutes later and informed me that I was now the regular writer for Jimmy Olsen.” (The John Albano-scripted Olsen story originally commissioned by Bridwell, incidentally, appeared in issue #186, mistakenly credited to DeFalco.) The writer’s most memorable creation may have been the heroic Human Cannonball, introduced in issue #188. Egocentric and perennially cheerful, the man otherwise Superman in the Bronze Age Issue

Super Chicken (left) Schaffenberger’s cover to SF #179 (Oct. 1976) featured a Kryptonian coward in its spotlighted Olsen tale. (right) Superman (and Wonder Woman) to the rescue of sagging comic-book profits in this Adamsillo’ed Dollar Comics ad. TM & © DC Comics.

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known as Ryan Chase was obviously sweet on Lois Lane and too Action Comics #297). [For more on Jack C. Harris’ run on Supergirl, endearing for her to dislike. “In the early days, Lois was always being see BACK ISSUE #17.] rescued by Superman,” DeFalco notes. “I decided to reverse that idea Bridwell embraced the potential of such long-form storytelling by giving her a costumed hero that she would have to rescue.” and subplots, initially tying together the Jimmy Olsen, Lois Lane, and The Bob Toomey-scripted Krypto began as the Dollar Comic’s Superman stories in issue #187. The Paul Kupperberg-scripted Nightwing frothiest feature, revolving around the Superdog’s and Flamebird feature had transferred the costumed adventures on a movie set. The strip’s tone identities once used by Superman and Jimmy Olsen changed abruptly in issue #187 when private over to the Kryptonian duo of Van-Zee and Ak-Var. detective Ed Lacy left Hollywood—with Krypto The latter hadn’t asked permission, though, and by his side—to investigate accusations Superman Family #188 made that the basis of that his teenage nephew was a murderer. a crossover between their strip and those of The charm and humor in Lacy and Krypto’s Jimmy and Supergirl. Issue #190 went that one partnership balanced nicely with the story’s better by devoting all six features to a single 64more serious elements, and the final episodes page opus in which the alien Preservers obsessively of the feature—which ended in issue #192— gathered every living Kryptonian—including the were some of its most satisfying. villains of the Phantom Zone—in one place. Jack C. Harris took advantage of the fact that, Nightwing and Flamebird—whose predecessors after several years of being locked into standhad appeared only four times—were an out-of-leftalone stories, the series in Superman Family field addition to the book. “I would imagine that could now be serialized to good effect. With it was an effort to expand the definition of the tom Defalco issue #184, he launched a three-part Supergirl Superman ‘family’ to include characters outside story that reintroduced the Girl of Steel’s adoptive the Daily Planet and the other usual suspects,” and Kryptonian parents while entangling them all in a plot by Paul Kupperberg remarks to BACK ISSUE. “It had to be Nelson’s three alien criminals to create a super-weapon. The climax of the idea; no one else would have cared enough to dig these guys up.” story revealed a greater enemy at play, a disembodied entity with While long-running supporting character Van-Zee had been obvious a deep hatred for the superheroine. That subplot lingered into choice to replace Superman as Nightwing, his partner Ak-Var (a.k.a. 1981 when the presence was revealed in Superman Family #206 Flamebird) had appeared only once before in 1966’s Action Comics as Supergirl’s nemesis Lesla-Lar (believed dead since 1963’s #336, written by Edmond Hamilton and E. Nelson Bridwell. “I can practically guarantee that [Nelson] chose Ak-Var for the secondary role,” Kupperberg declares.

FAMILY CIRCLE Bridwell delighted in the intricacies of Superman lore and his letters columns were peppered with discussions of everything from Lois Lane’s genealogy to the distinctions between the Supermen of Earth-One and Earth-Two. He loved sharing his knowledge of the Superman Family’s history and that extended to the finer points of his writers’ scripts. “He often changed copy so that he could add footnotes,” Tom DeFalco recalls. “Nelson loved his footnotes.” “If you could find some little trivia bit and some old character that you could introduce into the Supergirl strip, [Nelson] just loved that,” Jack C. Harris recalled in BACK ISSUE #17. “I could dig back into Supergirl’s history and bring something up, and find, and resolve, an old problem, or old storylines. Nelson thought that was terrific.” (On the editor’s watch, the comic book finally received a proper lettercol title in issue #185—“The Superman Family Circle”—that was designed by Nicholas Pascale and illustrated by Kurt Schaffenberger. Issues #164–181 had rotated its three stars’ own letter-column titles— “Letters to Lois,” et al.—while O’Neil added a generic “Super Family Fanmail” topper in #182.) As editor of Lois Lane during 1970–1972’s Superman revamp, Bridwell had a fondness for the period’s since-neglected supporting characters. Throughout 1977 and 1978, he had his writers reintroduce African-American reporters Dave Stevens, Tina Ames, and Melba Manton, along with the conniving Percy Bratton and Meg Tempest into the Lois Lane and Jimmy Olsen strips. The return of the Newsboy Legion in Superman Family #191 presaged a full-scale return to the DNA Project that had been integral to Jack Kirby’s Jimmy Olsen. Weaving in strands from the recently canceled Teen Titans

“The Big Blockbuster!” An unused cover mock-up for the first Superman Family Dollar Comic, #182 (Mar.–Apr. 1977). Art by Curt Swan and Dan Adkins. Neal Adams re-inked and slightly revised the Swan art for its published version, seen in the background. TM & © DC Comics.

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(including the revelation that Green Arrow’s partner Roy “Speedy” Harper was the nephew of Jim “Guardian” Harper), the story gained momentum in DeFalco-scripted Jimmy and Lois stories before climaxing with an assault on the DNA Project in issue #194 (Mar.–Apr. 1979). Commandeered by the genetically engineered Adam and overrun with clones of everyone from Jimmy to the Justice League, the Project was freed from the villain’s control. The final panel suggested that someone else was poised to pick up where Adam left off, a plot thread that Bridwell was able to resolve five years later in the climax of the Dial H for Hero series (New Adventures of Superboy #49). “The DNA Project stories were all Nelson’s idea,” Tom DeFalco reveals. “We would meet every month and he would give me a list of the continuity points he wanted to cover or fix … and I’d go home and try to craft a story out of his ideas. It was a bit of a challenge. He would say things like, ‘Jack Kirby stated this in issue whatever, but someone else said this … so we need to bridge the gap between the two statements and say this!’” Elsewhere in issue #194, Paul Kupperberg (with guest artist Marshall Rogers) closed the door on the Nightwing and Flamebird series as he concluded a lengthy subplot involving the mysterious Crime-Lord of Kandor.

ADOPTED FAMILY If the comic book had an air of finality, it stemmed from the fact that Julius Schwartz was succeeding Bridwell on the book (although the latter remained a presence as associate editor). The transition was one of many repercussions of the summer 1978’s “DC Implosion.” Building on the momentum of the Dollar Comics, Jenette Kahn had spearheaded an expansion of the entire DC line that would see even standard format comics increase their story pages from 17 to 25 (with an attendant

price increase from 35 cents to 50 cents). Thanks to the corporate cold feet, the so-called “DC Explosion” was halted after three months, resulting in multiple cancellations and layoffs—including Tom DeFalco, who moved to Marvel—along with piles of homeless inventory. Pre–Implosion refugees had shown up in Superman Family as early as issues #191–193, which ran a Supergirl/ Doom Patrol crossover intended for the canceled SuperTeam Family #16. Under Schwartz, Superman Family would become home to two features that he’d commissioned for Superman: “The Private Life of Clark Kent” and “Mr. and Mrs. Superman.” The former, as the name implies, focused strictly on the Man of Steel’s adventures as a mild-mannered reporter. The latter, a continuation of the 40th anniversary Action Comics #484 from 1978, followed the lives of newlyweds Clark and Lois Kent in the early 1950s. Set on the parallel world of Earth-Two, the series engagingly portrayed the couple as full partners in a way that the present-day series could not. The newcomers initially fit just fine in Superman Family, which had gone ad-free effective with issue #191 (Sept.–Oct. 1978) and still had 64 story pages (along with wraparound covers) to play with. That ended abruptly with issue #197, where ten story pages were lost to the returning ads. [In 1981, issues #205–216 returned to the ad-free format with 48 pages.] “Mr. and Mrs. Superman” and “Private Life” briefly went into rotation before another solution presented itself. One of Superman Family’s six features would be spun off into its own title. That character was Superboy. A few years after the Legion of Super-Heroes had taken over his comic book, DC realized that there was still value in a series documenting his boyhood adventures in Smallville. Consequently, a new feature had been launched, initially

Superman’s “POW,” Jimmy Olsen (left) Some Superman Family covers featured the issue’s B-stars watching the A-star’s action, such as #185’s, by Neal Adams. (right) Art for the lettercol header, whose first incarnation commenced in that same issue. It was revised in Superman Family #195 (seen here) and #200 to reflect lineup changes. Art by Kurt Schaffenberger, from a concept by Nicholas Pascale. TM & © DC Comics.

jack c. harris

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in DC Super-Stars #12 (Feb. 1977) and Adventure Comics #453–458 (1977–1978) before finally landing in Superman Family #191–198. In the fall of 1979, with great fanfare, DC handed the Boy of Steel’s former comic book to the Legion (dropping his name and presence in the process) while a New Adventures of Superboy companion series would debut alongside it. In 1980, NAOS began running back-up strips starring other former Superman Family feature characters Krypto and Superbaby. Despite his late arrival in Superman Family, Superboy had immediately become its de facto star, leading off every issue he appeared in and getting prominent placement on half the covers. With his departure, Supergirl moved to the front of the book and was clearly regarded as the title’s greatest drawing card. Most of the 1974–1976 Superman Family covers had been busy affairs. Figures of the book three stars ran down the left side, a large central image spotlighted the issue’s lead story while two smaller grids on the right and a stripe along the bottom promoted the rest of the issue’s features. The O’Neil/Bridwell issues departed from that with a single representative image or larger multiple images on the wraparound covers. Starting with issue #197, Schwartz returned to the original multi-grid cover template, perhaps in an effort to reclaim atrophying sales.

FAMILY DYNAMIC It was still the strongest-selling Dollar Comic, though, and Paul Levitz reported in 1980’s Detective Comics #492 that Superman Family wasn’t being published monthly only because “we simply can’t find enough Superman writers and artists to go around.” Indeed, it was unusual to find any strip in the book from 1977 to 1980 that consistently had the same artist in every issue. Under Schwartz, that began to improve with Kurt Schaffenberger on “Mr. and Mrs. Superman”, Win Mortimer and Vince Colletta becoming regulars on “Supergirl,” Bob Oksner and Colletta on “Lois Lane,” John Calnan and Joe Giella on “Clark Kent, and Jose Delbo and Joe Giella on “Jimmy Olsen.” With artists Don Heck, Irv Novick, Alex Saviuk, and George Tuska available to pencil stories in a pinch, deadline worries evaporated and Superman Family went monthly with issue #208 (July 1981). For the last time in the book’s history, Superman Family #200 (Mar.–Apr. 1980) devoted itself to a single concept. Scripted entirely by Gerry Conway (with art by Oksner, Saviuk, Schaffenberger, Mortimer, and others), the story speculated on a possible future where Clark and Lois were the parents of a teenager named Laura who’d just discovered that she’d inherited her father’s powers at the onset of puberty. Divided into five stories just like a regular issue, each story revealed surprising details about its stars, whether Jimmy Olsen’s role as Daily Planet editor and husband to Lucy Lane or Florida governor Linda Danvers’ alter ego of Superwoman. A subplot running through the issue dealt with Lois’ frustration over a new pregnancy just as she was planning

Content Galore (top) Original Ross Andru/Dick Giordano art to the wraparound cover to #192 (Nov.–Dec. 1978). Courtesy of Heritage Comics Auctions. (bottom) Kurt Schaffenberger drew himself into the table of contents page for #195. TM & © DC Comics.

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Long Before the Birds of Prey… …there was SF/Supergirl writer Jack C. Harris’ proposed “Power Squad.” Art by Trevor von Eeden. TM & © DC Comics.

to resume an active journalism career. Clark solves the problem by retiring from the Daily Planet to be a stay-at-home dad. “You always were the better reporter of the two of us anyway,” he smiled. Conway’s depiction of a mysterious detective boyfriend for Superwoman fueled considerable speculation from fans that her lover was a grown-up Dick Grayson, but the writer insisted (via issue #203’s letters column) that he had no specific subject in mind. In Jack C. Harris’ present-day Supergirl series, Linda Danvers’ love life was less stable. Infatuated with a local theater producer named Peter Barton since issue #197, the Girl of Steel inadvertently endowed him with a costumed alter ego named Dynamic and wound up losing him to her friend Valerie Myles (Superman Family #201–202). Harris also developed a rivalry between Supergirl and the Enchantress, a short-lived 1960s magical crimefighter first seen in Strange Adventures #187. He hoped to follow up on the personality conflict established in issues #204–205 by placing both women in a team book where they’d be joined by Batgirl and the Vixen. Along with artist Trevor von Eeden, the writer pitched a comic book called “Power Squad” that DC ultimately passed on. Gerry Conway, who’d been writing Lois Lane and Jimmy Olsen since Tom DeFalco’s departure, temporarily handed both features to recent DC arrival Marv Wolfman for parallel stories in Superman Family #203–205. While Jimmy investigated a shady politician, Lois was targeted for information she had linking the same man to the H.I.V.E., a crime combine that Wolfman was developing in New Teen Titans. Stripped of her memories by the villainous Extractor, Lois was allowed some tender moments in the generally action-packed story, falling in love with a widower in the opening chapter and revisiting the highlights of her life in issue #206’s epilogue. After exhausting the Cary Bates-scripted shorts meant for Superman, Julius Schwartz assigned “Mr. and Mrs. Superman” and “Private Life of Clark Kent” to E. Nelson Bridwell and Bob Rozakis, respectively, with issue #199. The latter, typically the book’s shortest feature with six- or seven-page installments, often used ordinary relatable situations—whether jury duty (#202), grocery shopping (#204), or the morning commute (#209)—as jumping-off points for stories that required Superman’s alter ego to use his powers on the sly. Perhaps the best-remembered episode of the series involved a jittery Clark consenting to participate in a blood drive (SF #214). Needles broke on Superman’s skin—the story demonstrated as much— but Clark had no trouble thanks to a nurse who informed him that her name was Evig Doolb. The final page revealed that the nurse was Zatanna, the heroine who could magically perform impossible feats by speaking backwards … like commanding Clark to “give blood.” A longtime blood donor, Rozakis wrote the story to commemorate the centennial of the American Red Cross and solicited his wife Laurie’s help in gathering technical information for the story. “That resulted in a tour of the facilities of Long Island Blood Services,” Rozakis wrote in issue #219, “and even a feature in their magazine about how I wrote the comic-book story!” Bridwell found a perfect vehicle in “Mr. and Mrs. Superman” to articulate the differences between the present-day Superman and his Golden Age counterpart. A 1948 story (Superman #61) had dealt with a carnival swami’s inadvertent discovery of kryptonite, inspiring 1980 sequels (Superman Family #202, 205) in which the villain tried to capitalize on his knowledge and ultimately enabled Lex Luthor to publicly reveal the green meteor rock’s effect on the Man of Steel. Unlike the familiar bad villain, this Luthor had red hair that had been present in his earliest 1940 appearances. Issue #211 introduced “Mr. and Mrs. Batman,” when Clark and Lois Kent attended the mid-1950s wedding of Bruce Wayne and former

Catwoman Selina Kyle. Overhearing plans by a stranger to kill a man named Kent who “led a double life,” Lois assumed the worst. At the reception, the Kents discovered that the true target was the former villain Two-Face, a Batman nemesis known to modern readers as Harvey Dent but whose last name had been Kent in 1940s comic books. The strip also revisited long-lost Superman cast members, from Lois’ tall tale-telling niece Susie (SF #199, 212, 216) to would-be magicians Hocus and Pocus (#210, 216) and obscure villains such as Metalo (#217) and Funny Face (#219). Bridwell even introduced a parallel version of Lana Lang (who never grew up in Smallville on Earth-Two) as a TV critic working for Daily Star editor Clark Kent (#203). Revamping his 1965 creation, the writer had this version of Lana become an alternate version of the Insect Queen (#213–215). Bridwell dovetailed her origin with that of the Ultra-Humanite, the earliest recurring enemy of Superman (Action Comics #13–14, 17, 19–21) and a character unseen since 1939 before his revival in Superman Family #201. Originally an aged scientist whose brain had been transplanted into the body of a beautiful actress, Ultra decided to upgrade to a giant flying ant in the Insect Queen trilogy. The story overlapped with Gerry Conway’s revival of the 1981 Ultra as a white ape (Justice League of America #195–197) and sparked further appearances by the villain in the Roy Thomas-scripted All-Star Squadron and Infinity, Inc. Although “Mr. and Mrs. Superman” (mainly Mr.) claimed the central cover image three times (SF #210, 213, 217), Supergirl remained the book’s star attraction. After seven years of stability, the strip’s status quo was shaken up in issue #208 when Linda Danvers got fed up with an adversarial supervisor at New Athens and quit. With Peter Barton’s help, she immediately found employment as a daytime soap opera’s major villainess and moved to New York City to begin filming. The soap, in a cute in-joke, was called Secret Hearts after a long-running DC romance comic. Having initiated the move, Jack C. Harris never got to do much with it as his four-year run on the feature ended with #209. Still, the new backdrop freshened the backdrop of the series, particularly Superman in the Bronze Age Issue

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“Stop My Life—I Want to Get Out!”… …was the title of Paul Kupperberg’s Supergirl tale in (left) the final issue of Superman Family, #222 (Sept. 1982), where the Girl of Steel questioned alter ego Linda Danvers’ career as a TV soap-opera actress. Cover by Gil Kane and Frank Giacoia. (right) Linda moved on to better things in her new title, The Daring New Adventures of Supergirl. Cover to #1 (Nov. 1982) by Rich Buckler and Dick Giordano. TM & © DC Comics.

when Martin Pasko began a short stint and incorporated a bit of his perspective from writing for television. Pasko also resolved a 20-year-old subplot when he had Linda’s friend Lena Thorul finally discover that she was Lex Luthor’s sister (SF #213–214). Meanwhile, Jimmy Olsen’s on-again, off-again romance with Lucy Lane ended for good in Paul Kupperberg’s story in Superman Family #215. Smitten with a smart-talking Daily Planet receptionist named Jennifer Owens who called him “Jimbo,” the red-haired reporter realized that he’d never really felt the love for Lucy that he did for his new girlfriend. “I was always around when you wanted me,” Jimmy told his old flame, “but you were never there for me.” By issue #217, Kupperberg was also writing Supergirl, while Bridwell continued on “Mr. and Mrs. Superman”. A newcomer named Tamsyn O’Flynn began writing Lois Lane with issue #215, adding youthful reporter Mark Spencer to the feature as comic relief. O’Flynn, a lapsed fan who returned to the fold after watching 1978’s Superman: The Movie, first caught Julius Schwartz’s eye through her copious and neatly written letters of comment and quickly earned a post as DC’s proofreader. She was also destined to be the last writer on the ongoing Lois Lane series. By 1982, the Dollar Comics experiment was all but over. With the line now represented by only three titles, a given issue’s story pages were reduced to 41 in 1982, more than 20 less than the first 1977 issues. The cuts necessitated the Clark Kent feature’s eviction from Superman Family effective with issue #215, its final two installments running in Superman #371 and 373.

FAMILY BUSINESS Through no fault of its own, the anthology comic book—with its multiple characters and short stories—had become a dinosaur. Readers of the 1980s far preferred comic books with a single feature, book-length stories, and juicy serials. It was no great surprise when DC announced the reduction of World’s Finest Comics to a standard 60-cent package and the cancellation of Superman Family with issue #222 (Sept. 1982). Only G.I. Combat was deemed profitable enough to remain a Dollar Comic. In Superman Family’s place, DC published The Daring New Adventures of Supergirl #1 (Nov. 1982). Scripted by Paul Kupperberg, the new series started fresh in story as well as art, with Carmine Infantino 54 • BACK ISSUE • Superman in the Bronze Age Issue

and Bob Oksner providing an invigorating contrast from the previous two years’ Mortimer/Colletta team. Linda Danvers quit her soap-opera job in the last Superman Family tale, leading to some soul-searching on Supergirl’s part in Superman #376 as a lead-in to the new book. Therein, Linda returned to college in Chicago and mostly pretended that her career in the adult work force had never happened. But Superman Family still echoed in Daring New Adventures, by virtue of the continuing Tamsyn O’Flynn/Bob Oksner Lois Lane back-up series that ended in issue #12. Significantly, “Superman’s Girl Friend” was removed from the logo in that final run of stories. Action Comics #542 (Apr. 1983) opened with Lois Lane breaking up with her superpowered boyfriend, the first of many developments intended to defy reader expectations of the series’ cast and hopefully attract fans who were picking up more soap-operatic titles like Amazing Spider-Man or New Teen Titans. The revamp was ultimately abandoned after a year with some of the shake-ups—such as Jimmy Olsen’s marriage, mentioned by Marv Wolfman in 1983’s Comics Interview #3—never coming to pass at all. The important thing was that Lois and Jimmy still had a home in Superman’s supporting cast even if they’d never have ongoing series of their own again. The concept of a three-in-one comic book starring solo series about those closest to Superman was never fully realized again although 1999 and 2000’s Superman 80-Page Giant #1–3 were among the issues that evoked its memory. But the Superman Family itself? They’ve never gone away. Even when not made explicit as in Art Baltazar and Franco Aureliani’s lighthearted Superman Family Adventures ongoing series (2012), the central players in the Man of Steel’s life like Lois Lane, Jimmy Olsen, and Supergirl have occupied key places at the table in every succeeding iteration of the DC Universe. The family endures. JOHN WELLS is a comics historian specializing in DC Comics who has served as resource for projects ranging from Kurt Busiek’s The Power Company to Greg Weisman’s Young Justice animated series. He is the author of the book American Comic Book Chronicles: 1960–1964 (TwoMorrows, 2012).

Christopher Larochelle

Some DC Universe villains are motivated primarily by revenge against their most hated superfoes. Others are victims of fate or accidents, and this tends to make them into formidable foes. Some villains, like the Joker or Dr. Sivana, are just plain crazy. The Atomic Skull is a character who is a combination of all of these different ingredients in the DC supervillain formula. He certainly wasn’t an overused character, having appeared only a handful of times over the course of four years. If he wasn’t a very serious problem for Superman or the other heroes he was up against to deal with every single time, he at least looked like he meant business with his ghastly skull mask and his destructive brain-blasts. The Atomic Skull is noteworthy for being a true threat to Superman on a few occasions, which isn’t something that can be said about every baddie who has gone up against the Man of Steel.

BEGINNINGS Before there was the Atomic Skull, there was a man named Dr. Albert Michaels. As director of S.T.A.R. Labs, Michaels was seen by Superman as a great scientist. Then came the twist of fate: Michaels acquired a seizureinducing neurological disorder. Curiously, the only people who offered to help the poor doctor were members of the Skull organization. In exchange for supervising the construction of their mysterious Kryptonite Pipeline project, the Skulls promised to cure him of his ills as only they knew how. Being a double agent for both S.T.A.R. and Skull didn’t work out especially well for Dr. Michaels, and he soon left the good guys in disgrace. The Skull surgeons ran into some problems when they tried to implant a device made out of radium into Michaels’ brain. His “neural pacemaker” compounded the problems when the seizures returned—now they also had a radioactive byproduct that mutated the doctor’s brain, sending deadly energy bolts from his head! Dr. Michaels vowed revenge on Superman after the hero had all of the Skull scientists locked up. With nobody to help him with his ailments, Michaels had only one thought—to get even. All of this set the stage perfectly for a new and dangerous supervillain to be set loose on Metropolis….

ENTER THE ATOMIC SKULL The Atomic Skull first appears in Superman #323 (May 1978) in a story by Martin Pasko, Curt Swan, and Dan Adkins, called “The Man with the Self-Destruct Mind!” The cover of the issue, by José Luis GarcíaLópez, shows the full hazard involved in a battle with the “new and improved” Dr. Albert Michaels—the villain’s ghoulish face is laughing at the sight of Superman

Ain’t That a Kick in the Head? José Luis García-López’s sizzling cover to Superman #323 (May 1978), introducing to the world the newest member of the Action Ace’s rogues’ gallery: the Atomic Skull! TM & © DC Comics.

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The Atomic Skull, That’s Who Curt Swan/Murphy Anderson art for the Atomic Skull entry from Who’s Who: The Definitive Directory of the DC Universe #1 (Mar. 1985). TM & © DC Comics.

getting the full force of an atomic brain-blast. There is blast brings the Atomic Skull closer to his own death, no question about who has the upper hand in the it can’t be overlooked that the blast is actually battle depicted in this great cover. powerful enough to knock Superman to the floor. By Inside the comic, the Atomic Skull quickly gets to work even hurting Supes in a small way the Atomic Skull has on his schemes. He flies over Metropolis in a Skull-shaped set himself apart from a host of other villains. ship and beams up an old acquaintance from S.T.A.R. Labs Superman knows that the Skull poses a real threat. named Dr. Jenet Klyburn. The poor woman is condemned The Skull leaves and Superman notices some very to torture because she was put in his place as director strange things that surround the passageway that will when his involvement with Skull was discovered. In the lead him to find Dr. Klyburn … things that look like ship, Dr. Klyburn is led around by masked Skull agents kryptonite dust. Superman has yet to uncover the until she is invited to meet the ship’s “auxiliary power secrets of the Kryptonite Pipeline project but he knows source,” Dr. Albert Michaels himself. Dr. Klyburn is that he doesn’t like what he sees. shocked to see her former colleague dressed in a After Dr. Klyburn is saved, hero and villain reunite. putrid yellow-and-green suit, wearing a skull helmet, The Skull rants to Superman: “My life expectancy is and hooked up to conduits that are powering the ship. shortened with every seizure! My own brain is literally Dr. Klyburn is not the only person destroying me! And because you jailed beamed aboard the Skull ship. the only men who could possibly Superman soon finds himself repair the implant … you, in the ship’s passages when Superman, have doomed me! a skeleton-faced madman But before I die, I’ll see you approaches him. The Skull dead too!” Superman perfectly taunts Supes and explains his played into the Skull’s hands. plight before the hero is left to Unbeknownst to him, everything navigate his way to rescue Dr. he did led toward the launch of a Klyburn. As the Skull puts it, he suffers rocket full of kryptonite. The rocket from a progressive form of rare neurowill explode in the ionosphere and logical disorder which manifests itself create a ring of tiny “K” particles that as a kind of short-circuiting of the will encircle the Earth and negate electrical impulses of the brain. But Superman’s powers forever. The martin pasko then he got that radium implant…. mystery of the Kryptonite Pipeline A brain-blast sends Superman project revealed, the Atomic Skull sees to the ground. While every seizurefit to hurtle another brain-blast in the Man of Steel’s direction, leaving the hero prone on the ground. Before he scurries away the Skull lets another foe of Superman’s into the fray: Titano, the Super-Ape. Pasko and Swan continue the story in Superman #324 (June 1978). “Beware the Eyes that Paralyze!” begins with Superman coming to his senses and recognizing the threat posed by Titano. The giant ape’s kryptonite eye-beams could quickly end the fight, but Superman responds with his own speed by wrapping some heavy-duty girders around the simian’s head. The Atomic Skull returns, not altogether satisfied by how easily Superman defeated Titano. He feels the need to once again take matters into his own hands. One shortcoming of the Skull’s brain-blasts is soon discovered as Superman finds that he is able to deflect the energy with his cape. It richochets and blasts the Skull, who realizes that it is time to lay out his trump card: Titano is actually being thought-controlled by none other than the Man with the Self-Destruct Mind. A second time the Titano plan doesn’t really work out, and Superman pulls away with a speedy solution to the problem of the kryptonite-filled rocket that was launched. He takes a second rocket and lines it with lead and remotely triggers it. The two rockets explode together and the dreaded “K” ring is covered by lead so that Superman’s powers will still work on Earth. Completely defeated, the Atomic Skull is taken away to jail.

VS. THE FLASH AND FIRESTORM In Superman #331 (Jan. 1979), we learn about where the Atomic Skull has been since Superman outwitted him in their first meeting. The story, called “Lockup at 20,000 Feet!,” features the new prison for super-criminals developed by Carl Draper. Each cell is specialized to hold the individual locked within by neutralizing their powers. The Atomic Skull is shown rigged up to wires mounted in the wall. The effects of his seizures are

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counteracted by electroshock. It really doesn’t seem like the Skull wouldn’t even be able to try escaping from the cell that he is in. Superman congratulates Draper on his design and turns it into a prison 20,000 feet in the air thanks to an anti-gravity platform and plastic bubble surrounding the building. That is the only update that is given about the Atomic Skull. He is trapped in the best prison ever made and there can’t possibly be a way out, until a certain Scarlet Speedster has a lapse of judgment. The Atomic Skull makes his return in “The Deadliest Man Alive!” (Flash #293, Jan. 1981), a Firestorm backup co-starring Flash. Gerry Conway writes and George Pérez with Rodin Rodriguez draw the story that leaves no mystery as to why it might be a risky idea to have a prison for supervillains that is 20,000 feet in the air. The Flash is racing along on top of the water at the coast of Metropolis when he sets off a sonic boom. This kind of thing happens all the time with him, but usually there isn’t something like “Superman’s Island” in the sky directly above said boom. Only one prisoner is freed from his cell, and it is none other than Dr. Albert Michaels. The Flash has the foresight to check on the prison to make sure that he didn’t disrupt anything. His greeting is a familiar brain-blast that sends the Flash reeling. Understandably, the Skull’s hatred of Superman has only grown during his long imprisonment. He wants to make the most of his newfound freedom and find a way to increase the effect of his brain-blasts. He wants to make them powerful enough to destroy Superman. After taunting the Flash, he is off to go and get more radium from the raw materials found in the Rocky Mountains. The Flash uses his powers to minimize the effects of the radiation but knows that there is only person who can help: Firestorm, the Nuclear Man. After quickly tracking down his Justice League teammate, the Flash is saved when Firestorm absorbs the huge amount of

radiation into his own body. The Flash knows that he has to act quickly in stopping the Skull but also wants Firestorm’s help. Unfortunately, Firestorm has been pretty overwhelmed by the radiation and the supercharge has left him “drunk” on atomic energy. He’s pretty much useless. The Atomic Skull doesn’t really have his finest moment in this tale. He is blasting the tops of mountains in Colorado to expose uranium ore which he will later use for making more powerful radium implants. The Flash causes a landslide that destroys all that the Skull has been working toward. The mad doctor is enraged and builds up another brain-blast. The Flash gets on Firestorm’s nerves and the Nuclear Man threatens to blast him with an energy burst. Flash lets the blasts from both the Skull and Firestorm launch at each other, which works out quite nicely: the Skull is knocked out and Firestorm gets a headache but is also cured of his “drunkenness.” It looks like another prison term is in store for the Man with the Self-Destruct Mind.

Still Causing Headaches (above) The Pasko/Swan/Adkins team brought back the atomic adversary in Superman #323 (May 1978). (left) The Skull took on both Flash and Firestorm in Flash #293 (Jan. 1981, cover by Geroge Pérez). TM & © DC Comics.

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Mindbending Team-Ups (left) Double trouble for Superman and Man-Bat in DC Comics Presents #35 (July 1981). Cover by Ross Andru and Dick Giordano. (right) DCCP’s big five-0 (Oct. 1982) split the Action Ace from his alter ego and pitted them against ol’ Skull-head. Cover by Rich Buckler and Frank Giacoia. TM & © DC Comics.

TWILIGHT OF THE ATOMIC SKULL The Atomic Skull’s last two Bronze Age appearances show him learning from mistakes and trying new things, but ultimately nothing ever works out especially well for him. In DC Comics Presents #35 (July 1981), the Skull faces the challenge of the combined strengths of both Superman and Man-Bat. For the first time, the Skull has a true partner in crime in Felicia, a woman who wears a costume quite similar to his own, though she does without the skeleton helmet. It’s two against two in this match, and both parties are seeking the same alien technology for altogether different reasons. “The Metamorphosis Machine!” is another tale by Martin Pasko and Curt Swan. In it, Man-Bat breaks in to S.T.A.R. Labs, looking for something he can use to help his daughter. She needs some way to be able to sleep through the night, which is a challenge because Man-Bat gave her some of the serum that created his superpowers: her bat-sensitive hearing keeps her awake at all hours. Superman intercepts Man-Bat and suggests a remedy that he has at the Fortress of Solitude. The Atomic Skull has bugged their conversation, mentioning that he needs this very same device before he traces them to the location of the Fortress. The all-important ultrasonic device winds up in the Skull’s hand after he breaks into the Fortress of Solitude. The Skull appears to have the upper hand because he has learned a new trick with his brain-blasts. He can now activate them on command by pressing a button in his helmet, so he doesn’t have a painful seizure every time he attacks. It isn’t long before the Atomic Skull’s plan is revealed: Felicia, his partner and lover, needs the device desperately. Dr. Albert Michaels had developed an evolutionary ray which he used to transform a panther into a beautiful woman—Felicia. He needs the ultrasonic device to make the change permanent, but Man-Bat and Superman take it back. The Skull is ruined once again while the ultrasonic device is put to use helping Man-Bat’s baby to sleep. Alone with his former lover who is now just a jungle cat, the Atomic Skull disappears into the background once again.

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A little over a year passes before the Atomic Skull finally resurfaces in DC Comics Presents #50 (Oct. 1982). “When You Wish Upon A Planetoid!” is a little bit of a letdown as far as Skull appearances go because he is relegated to the “B plot” in a story that is largely concerned with the temporary separation of Superman and Clark Kent into two different individuals. The Atomic Skull, while boasting of further improvements to his technology (since it led to his defeat last time, he doesn’t need to press a button to activate the brainblasts anymore), he is really back to his old tricks: wreaking havoc on S.T.A.R. facilities. Clark Kent travels to a place close to a nuclear power plant that the Skull is threatening in California. With the help of an engineer, a tremor is triggered which prompts the plant’s emergency coolant to flood into the reactor. Any radioactive leaks would be suppressed by expanding foam, so the radioactive villain is trapped under foam in a nuclear power plant. It’s a slightly disappointing Bronze Age sendoff to a villain who really could have been more of a threat. Following that appearance in DC Comics Presents #50, the Atomic Skull has no other significant appearances until well after the conclusion of the Bronze Age. The ’90s saw a new Atomic Skull popping up in various titles, another character with similar powers but an entirely different story. Dr. Albert Michaels reappeared for bit roles in just a handful of comics between 2000 and 2010. On the one hand, it’s nice to know that there is a supervillain who is so distinctly Bronze Age that he hasn’t really been seen much outside of that era. On the other hand, it’s sad to see a character that has been mostly forgotten over the course of time. The Atomic Skull stories from the late ’70s and early ’80s are a lot of fun, showcasing a villain who posed a true threat to the strongest superhero in the DC Universe and a comic-book character that never truly got his due. At a young age CHRISTOPHER LAROCHELLE discovered superheroes on the small screen in cartoons like Batman: The Animated Series and X-Men. He got his first comics a short time after that and still adds to the collection today.

Tim Callahan

Take a quick glance at the comic-book stands these days and you’re likely to see more than a few limited series mixed in with all the ongoing titles. Whether it’s the season’s big-event crossover book or just another X-Men or Batman spin-off series, seeing covers labeled “Issue #1 of 4” (or 6 or 8 or 12, or anything in between) is no surprise at all. As comic-book readers, we’ve grown accustomed to series with defined, limited runs. The idea of a comic-book miniseries is nothing new. But it used to be. Once upon a time not so long ago, comic books weren’t released in limited formats. You’d get your ongoing series and you’d like it, and if you didn’t like it, or the publishers just wanted to try something new, your subscription to All-Star Comics might turn into a subscription to All-Star Western without notice. Your Superboy might turn into The Legion of Super-Heroes. And the numbering would continue on. Somewhere along the way, someone decided to take a stand. It was the late 1970s. A new era was upon us. World of Krypton—three issues, and that’s it— changed the comic-book landscape as we knew it. Okay, it wasn’t such a monumental deal at the time, but the fact remains that 1979’s World of Krypton, a Superman spin-off, was the first miniseries in comic-book history. Other comics had been short-lived, but never had a comic book series been designed to be shortlived, and have a predetermined beginning, middle, and end. It was an idea that was due—if paul kupperberg it hadn’t been World of Krypton, something from DC (Marvel was a few years behind the curve on this one) would have likely ended up as a limited series soon enough—but World of Krypton, written by Paul Kupperberg, with art by Howard Chaykin, Murphy Anderson, and Frank Chiarmonte, was the trendsetter, and we now know how popular the concept of comicbook miniseries (and maxiseries) would soon become. Still, as pioneering as that creative team was, wrangled by editor E. Nelson Bridwell, they didn’t originally set out to change the way comic books were released. They didn’t even really know they were working on a selfcontained miniseries when they began piecing together the backstory of Jor-El and Lara and what would become World of Krypton. They stumbled into their new invention, with some help from a round of bad luck.

Blowed Up Reeeeal Good! The Ross Andru/Dick Giordano cover to the final issue of DC’s three-issue miniseries World of Krypton, #3 (Sept. 1979), with baby Kal-El rocketing his way to Earth. TM & © DC Comics.

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ACCIDENTALLY GIVING BIRTH TO A NEW FORMAT The venerable Showcase series at DC, which had been revived in 1977 for Paul Kupperberg’s “Doom Patrol” revamp, was a victim of the DC Implosion of 1978, when 20 series were swiftly axed because of troubled distribution and economic distress. Kupperberg had already finished writing a three-part “World of Krypton” serial for the abruptly cancelled Showcase. Not only that, but it had been drawn as well. “At the time this revival of Showcase was canceled,” explains Kupperberg, “the ‘World of Krypton’ arc was already completed. If I remember correctly—and there’s no guarantee that I do; this was 34 years ago—it was originally scheduled to run in howard chaykin #104–106, to come out at the same time as the original planned release date of Superman: The Movie.” Those issue numbers might seem misaligned with the historical record, since we can clearly see that Showcase #104 was published without any “World of Krypton” story, and issues #105 and #106 look to have been prepared for later-printed “Deadman” and “Creeper” stories, respectively, but Kupperberg explains that the delays on Superman: The Movie affected the planned release of their three-part Kryptonian backstory. The Lore of Jor-El “The film kept getting pushed back,” says Kupperberg, “so they took a bunch of Murray Boltinoff(left) Pages 2 and 3 edited war stories and put them together as a last minute of World of Krypton replacement for issue #104, ‘O.S.S.: Spies at War,’ and then had a couple of single issues lined up to follow” #1 (July 1979). Kupperberg continues: “I vaguely recall that Story and layouts by ‘World of Krypton’ had ultimately been rescheduled for Showcase #110–112, to coincide with the new release the Kupperberg date of the movie, but there wasn’t anything—that I brothers, pencils by remember—having been prepped for issues #107–109 since the cancellation had come early enough.” Chaykin, and inks by Thus, a miniseries was born, out of necessity. Anderson. (right) The “The reason World of Krypton was published as a miniseries was, simply,” says Kupperberg, “a need for issue’s Andru/ Superman-related product to take advantage of the Giordano cover. enormous amount of hype surrounding the movie. Due to some screwy legal problems with the Mario TM & © DC Comics.

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Puzo screenplay, DC couldn’t do any direct adaptations of the film, so they had to go with original material based on the comic-book version—that’s why the Elliot S. Maggin novel, The Last Son of Krypton, which bears the Superman: The Movie logo and photos of Christopher Reeve on the cover, has nothing to do with the movie itself.” Even though the backstory of Jor-El and Lara radically diverged from what was presented in the Richard Donner-directed motion picture, “World of Krypton was always intended to go hand-in-hand with the movie,” says Kupperberg, “and since there was no umbrella title like Showcase to put it out under, DC decided to publish it as a stand-alone miniseries.”

WEAVING TOGETHER A FORGOTTEN PAST World of Krypton isn’t notable just because it happened to be the first miniseries, though. It was also, at the time, the definitive, canonical history of the El family, beginning with Jor-El as a child and outlining his growth to adulthood and following through right up until the moment he launched young Kal-El toward Earth. For the story, Kupperberg wove together bits of the “Fabulous World of Krypton” back-up features from the Bronze Age issues of the Superman series and other fragments of Kryptonian lore that had found their way into the main Superman comics over the years. But not every single piece of established Kryptonian history made sense for inclusion. As Kupperberg explains, “World of Krypton was, basically, the biography of Jor-El, so I’m sure there were previously published stories I didn’t use because of space considerations or because they didn’t fit into the overall narrative I was telling. The Weisinger Superman stories from the 1950s and early 1960s were overflowing with stories where Superman returned to Krypton, or finds some artifact floating in space, etc. There was just no way to fit it all into 66 pages and still tell a coherent story.” Editor E. Nelson Bridwell, famous for his love of comic-book minutiae, particularly with the Superman

Super-Grandpa (left) Jor-El says goodbye to his father in World of Krypton #2. (right) The issue’s cover depicts Brainiac’s theft of the soon-to-be-bottled city of Kandor. TM & © DC Comics.

family of comics, was the ideal editor for the project, but he was also different from his work on either the Star Wars comics or the work he a bit difficult to work with, precisely because of his obsessive interest in was doing in Heavy Metal magazine at the time. But there’s a reason the comics stories of the past, according to Kupperberg. “While there for that, beyond the heavy-handed inks of Murphy Anderson (with wasn’t nearly enough space to fit every single bit of established issues #1–2) and Frank Chiaramonte (with issue #3): Chaykin’s art Kryptonian history and trivia into World of Krypton, Nelson pushed to was ghosted by Paul Kupperberg’s brother, Alan. do it anyway,” says Kupperberg. “I loved the guy and would spend hours Chaykin would only confirm that Alan Kupperberg provided layouts hanging out in his office talking to him, but when it came to editing for World of Krypton, from which he did pencil artwork, and “that’s all I something like World of Krypton, he could be a recall about the series,” reports Chaykin. But both challenge to work with. He supplied me with a ton Paul and Alan Kupperberg independently described of reference, of which I wound up using only a a much more intensive role for the uncredited few hundred pounds. I probably took what layout artist on this particular project. he gave me, nodded in agreement, and Alan Kupperberg explains a bit about went home and used what I needed to tell the context of the job: “I had been ghosting the story that needed to be told. Once I all of Howard’s post–Sword of Sorcery stuff for turned in the scripts, he might have complained DC. He was my best friend and I lived across about what I left out, but I would ask him what he the street from him until he moved around the wanted me to cut in order to fit in what he thought corner upon his second marriage. I laid out a threewas missing. Ultimately, reason and storytelling part ‘Enemy Ace’ arc for Howard. And an issue of The would overcome his OCD over all the trivia.” Legion of Super-Heroes. And issue #10 of Star Wars. Kupperberg adds, “Nelson would, however, “I was pretty much beginning my career when edit all sorts of references and Kryptonian slang in I was working for Howard,” explains Kupperberg, alan kupperberg to the script that required footnotes to explain to “which is why I was working for Howard. Between the reader. He was a dear, sweet human being, but Howard and Jack Abel, whom I (and Howard) had worked alongside at the Wallace Wood studio in there were just some things he couldn’t let go of.” Valley Stream, New York, I had learned the basics of layout and From Jor-El’s discovery of anti-gravity particles to the creation of the Phantom Zone projector to the trouble with Scarlet Jungle Fever, design. I applied these basics to World of Krypton.” Speaking of the behind-the-scenes operations, Kupperberg goes Kupperberg brought together a variety of highlights from Kryptonian lore into a single narrative, with a dash of goofy but charming on to say, “I drew my layouts on 10" x 15" layout bond and then Howard light-boxed them off onto DC Comics two-ply Bristol board. Bridwell-enforced Kryptonian vernacular sprinkled throughout. I don’t recall that he changed much or any of my storytelling. Roy RENDERING SUPERMAN’S HOMEWORLD Thomas has said that I ‘always told a story well.’ And I was fast. On a One of the unusual things about World of Krypton, outside of its origins or really good day I could lay out upwards of 15 pages, especially when its historical significance, is that it lists Howard Chaykin as the penciler, I was not responsible for doing finished pencils.” The finished pencils but the art looks nothing like his style at all. Chaykin’s art has undergone were left to Chaykin, but under Murphy and Chiarmonte’s heavy inkseveral stylistic shifts over the years, and the Chaykin drawing comics in ing, none of his unique style shines through the final pages. the late 1970s isn’t recognizable as the Chaykin of today, but, even so, Paul Kupperberg, reflecting back, applauds his brother’s work on the the compositions and figures in World of Krypton look completely series, though his praise doesn’t linger for all the collaborators involved:

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“An Orphan from the Stars” Frank Chiaramonte replaced Murph as inker of WoK #3, which revealed the silver lining of the dark cloud of Krypton’s demise. Special thanks to Andy Mangels this article’s art. TM & © DC Comics.

“When all was said and done, I think Alan did a great job on World of Krypton. He knew and loved the old stories the mini was based on, and he certainly knows how to tell a story. And Murphy Anderson’s inking on the first two issues didn’t hurt none, either, although I can’t be as charitable with Frank Chiaramonte’s turn on the final issue.” World of Krypton #3 does look particularly stiff compared to the lush, dynamic linework of the first two issues. But there is still a recognizable consistency throughout the series, largely the result of the original marks Alan Kupperberg made for everyone else to work over. And the layout artist felt a special connection to the project, because of a childhood experience from a decade-and-a-half earlier: “In 1963 I was a reader of Sad Sack comics when another boy on my block in Canarsie, Brooklyn, loaned me a stack of Superman comics,” Alan Kupperberg explains. “I stayed up all night reading them and fell into Mort Weisinger’s trap. I was hooked. I read a whole bunch of Wayne Boring Krypton stories that night. So 15 years later I was getting to do the ‘definitive’ story of Krypton. It was exciting. And it completed a

circle. As a 12-year-old, I drew my own comics. And one story I did was ‘The History of Krypton.’” Ultimately, Alan Kupperburg enjoyed drawing the layouts for the book, connecting his efforts to fond memories of his childhood and to the artist who inspired him on the series. “I enjoyed everything about it, says Kupperberg. “I referenced Curt Swan as best as I could. Curt was my favorite Superman artist, so I tried to let him inform my work.” The innocence of Swan’s signature style can be felt through Kupperberg’s approach to Krypton, which is filled with classical figures and simple, geometric landscapes. The Chaykinesque qualities of the artwork may be missing in the printed pages, but it definitely fits right in with other Superman comics of its day, even if it happened to be a very special one.

MAKING ITS MARK ON THE INDUSTRY World of Krypton as the definitive, pre–Crisis history of Superman’s family tree and the first comic-book miniseries ever published should have been a landmark event. But with no indication on the cover, or inside the three issues, that this was indeed the launch of a new format, did the creators involved even realize their part in comic-book history? “I would imagine labeling something as a miniseries on the cover would have been seen as a negative since sales were still predominantly newsstand, where consistency and regularity of a title was still valued,” says Paul Kupperberg. “But I found a house ad in Flash #274, cover-dated June 1979, where World of Krypton is trumpeted as "3 Great Issues!" and gave the on-sale dates for all three. I don’t recall any adverse reaction for its ending at issue #3, but I guess the ‘title character’ blowing up at the end of it might have nipped that in the bud. “I don’t know that I quite considered it a milestone at the time,” Paul continues. “I was just glad the thing was finally getting published. It took a few years for me to realize and appreciate that I was associated with something new in the field and relatively new in media in general. Television had done only a few miniseries prior to then— QB VII in 1974, Rich Man, Poor Man in 1976, Roots in 1977—so it was all new territory. And with most of comics distribution still via newsstands, where a familiar title was important to the vendors who didn’t want to waste their rack space on unknown comic-book titles, it was probably a little risky. But then, the Superman movie hype was massive, so having Superman on the covers likely eased concerns.” And uncredited ghost artist Alan Kupperberg, who played such a pivotal role in the look of Superman’s immediate Kryptonian family? Did he realize the import of what he was working on? “Much later,” he says, “I realized I had laid out the first miniseries. And I impressed myself.” DC followed World of Krypton with another miniseries a year later, the designed-specifically-for-the-limitedformat Untold Legend of the Batman, written by Len Wein. Paul Kupperberg returned in 1981 with an original miniseries, Secrets of the Legion of Super-Heroes, again with the kindly but obsessive Nelson Bridwell in the editor’s chair. Those miniseries that immediately followed in the wake of World of Krypton followed the same format: three issues, telling historical backstories about a superhero’s literal or metaphorical world. Unintentionally, the Kupperberg brothers and their collaborators started a powerful trend, a format that has changed over the years but began with a bang—or ended with a bang, Kryptonically speaking. TIM CALLAHAN has written and edited such books as Grant Morrison: The Early Years and Teenagers from the Future: Essays on the Legion of Super-Heroes. He is currently a columnist for Comic Book Resources and a staff writer for Tor.com.

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In the late 1970s, Superman’s amazing new vehicle, the Supermobile, first appeared in the pages of Action Comics. Sometime later, two diecast metal versions of it were produced by Corgi Toys. So, what was the story behind the Supermobile, and where did it appear first—in the comics, or as a toy?

Mike Pigott

SUPERMOBILE IN COMICS The first appearance of the Supermobile was in a four-part storyline beginning in Action Comics #480 (Feb. 1978), although it didn’t make an appearance until the second installment. This unusually long storyline was written by regular Action scribe Cary Bates, penciled by veteran Superman artist Curt Swan, and inked by his regular collaborator at the time, Frank Chiaramonte. Action #480 features a dynamic—but rather misleading—cover by José Luis García-López, showing Superman attempting to stop a flaming meteor from destroying Metropolis. The story opens with Superman relaxing during a quiet shift on monitor duty at the Justice League satellite, until he is knocked across the room from a punch from an enormous fist. Amazo, the JLA’s giant android foe, has somehow been revived and has escaped from his glass cage in the trophy room. After a brief tussle, Amazo knocks Superman through the hull of the satellite and they continue their battle in airless space. The Man of Steel’s blows have little effect on the android, which possesses the powers of the entire JLA. Suddenly feeling dizzy and weak, Superman is slammed with a white-hot meteoroid and knocked into the Pacific Ocean. When the rest of the League gather in the satellite to investigate, Amazo uses Green Lantern’s power to trap them in an alternate dimension. A de-powered Superman retreats to his Fortress of Solitude in the arctic, where he learns from his high-tech monitors that a cloud of red-sun radiation—from a supernova millions of years ago—has enveloped Earth’s solar system. This was simultaneously the cause of Superman’s weakness and Amazo’s revitalization. Surprisingly, Amazo is not happy about being revived; he was enjoying, as he puts it, “the tranquillity of his electronic dreams,” and suspects his creator Professor Ivo of being responsible. Ivo, it turns out, has gone straight and is teaching astronomy at an Ivy League university under the pseudonym of Ives. Alerted to his creation’s return, Ivo heads to Metropolis to track down Superman. He finds the Man of Steel, but so does Amazo, who uses heat vision to trap the two of them in melted tarmac, and demands that Ivo switch him off … which the professor is unable to do, being unaware of how he was re-activated. The issue closes with the android about to pound Superman and Ivo into the ground with a two-handed punch. The cover of Action Comics #481 by García-López shows the first peek the Supermobile, in an exciting image with Superman at the controls whacking Amazo in the chin. Inside the issue, Amazo slams Superman and Ivo into the ground with a mighty punch, leaving a large crater and no trace of the two men. However, the Man of Steel has instantly transported himself and Ivo to his Fortress using a miniature Kandorian teleportation device. Amazo isn’t fooled for long, and soon ploughs through the roof of the arctic santuary. While distracting the robot with alien creatures from his private zoo,

He Drives Me Crazy The Man of Steel’s rollicking ride, cover featured on Action Comics #481 (Mar. 1978). Art by José Luís García-López. TM & © DC Comics.

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Superman reveals his secret weapon, a small aircraft called the Supermobile. Painted light blue with “S” logos on the nose and tailfins, the Supermobile features extendable robotic arms on each side of the cockpit and wide rear wings with integrated air intakes. Inside the cockpit, Superman is seated behind a binocular–like scope that can replicate all his different vision powers. The remainder of the issue is basically a mechanical slugfest with the two machines pitted against each other in order to highlight the Supermobile’s abilities. It can radiate a yellow aura to repel Amazo’s Green Lantern powers, navigate underwater, and travel across land at high speeds. After administering a mighty blow to the android’s head using the vehicle’s robot fists, Superman flies back to Metropolis in the Supermobile, but is met by Amazo with an ultimatum: either hand over Professor Ivo, or one of Superman’s friends from The Daily Planet will be killed. Behind another Supermobile cover by García-López, Action Comics #482 opens with Superman using the craft to stop a weapons heist from a military base and apprehending a pair of foreign spies. Meanwhile, Lois Lane is trapped in an alleyway by the furious Amazo. But before Amazo can issue a death blow, a huge pair of mechanical fists bursts through a wall and flings Lois into the air—it’s the Supermobile! Superman then catches her in the craft’s tandem rear seat, but Amazo is in pursuit and kicks the vehicle so hard that it passes through some form of hyperspace barrier … which turns out to be the time field. The Man of Steel manages to slow the craft and land it on an asteroid with a breathable atmosphere, but unfortunately, Amazo is right behind and gives Superman a final demand: either reveal the whereabouts of Ivo, or Lois dies. Despite Superman’s protestations, the professor reveals himself. He has been reduced in size by a Kandorian shrinking ray, and has been hiding in a pocket in the hero’s cape all along. Amazo uses his power ring to enlarge Ivo in order to kill him, but at this point Superman feels his strength return and punches the android into the asteroid’s core. He then manages to fly back to Earth under his own steam, carrying Lois and Ivo in the Supermobile. The fourth and final installment in Action #483 features a cover by Rich Buckler and Dick Giordano. Titled “Sleep No More,” it opens with tired-looking newscaster Lana Lang explaining that, for the past five days, the red-star dust cloud has had the strange effect of depriving everyone on Earth of sleep. At first people reacted to this by working longer hours, eating five meals a day, and keeping shops and businesses open around the clock. However, as time passes, the sleep deprivation is becoming dangerous and people are starting to collapse from exhaustion. Meanwhile, Superman returns to Metropolis with Lois and Ivo, and as five days have elapsed on Earth, the cosmic dust cloud has moved on, returning him to full strength. Amazo, however, has managed to break free of the asteroid and return to Earth, but strangely assists Superman in preventing disasters caused by a pilot and a tanker driver passing out from exhaustion. Despite the seeming good deeds, the android is still intent on killing Superman, who stalls him by proving it was the red dust, not Ivo, that awakened him. Amazo is pacified, but he realizes that as the effects of the red cloud are wearing off, so are his powers … and he no longer has enough strength to return the Justice League from their limbo dimension. However, the Leaguers suddenly reappear, having managed to escape by combining their willpower through Green Lantern’s power ring.

A concerted attack from the JLA members drains the last sparks of energy from Amazo, returning him to his dormant state. As it turned out, the sleeplessness was caused by Earth’s plant life; unable to photosynthesize the red radiation, plants converted it into a gas that caused insomnia. Amazo’s inert body was put into orbit to soak up the last remnants of the red dust.

Hitching a Ride Our hero puts the Supermobile to the test in his battle with Amazo. Page 15 of Action #481, by Cary Bates (writer), Curt Swan (penciler), and Frank Chiaramonte (inker).

TOY SUPERVEHICLES Corgi Toys, which was based in Swansea, Wales, probably needs no introduction to most comic fans. Corgi’s 1966 TV Batmobile is one of the most iconic diecast toys of all time, and remains very sought after to this day. Most comics fans of “a certain age” owned one in their youth, and fondly remember the working slasher blade, the flickering fiery exhaust, and firing rocket tubes. Corgi also manufactured a number of other famous TV- and film-related vehicles, including the Batboat, Green Hornet’s Black Beauty, James Bond’s Aston Martin, and Chitty Chitty Bang Bang. Inspired by Superman: The Movie, Corgi introduced three new Superman vehicles to its line in early 1979. Superman in the Bronze Age Issue

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Hot Wheels (top) Did you (or do you) own any of these Supermobile varations? Photography by Nigel McMillan. (bottom) Courtesy of this article’s writer, Mike Pigott (who kindly provided all the images seen on these four pages), an ad— with Neal Adams art!!—featuring Corgi’s Supermobile and other Super-vehicles. Superman TM & © DC Comics.

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Two were based on vehicles appearing in the movie: a red-and-white Daily Planet Helicopter and a City of Metropolis Police Car. These were not new castings, but modified versions of existing items. The third model was entirely Corgi’s own creation: The SuperVan was a silver Chevrolet panel van with Superman graphics on the side and a printed card interior that supposedly represented his “mobile laboratory.” September 1979 saw the release of a fourth vehicle: the Supermobile. It was largely similar to its appearance in the comics, painted light blue with “S”-shield stickers on the nose and tail. The base was made of diecast metal and featured a tricycle wheel arrangement. The interior was visible through the bubble canopy, and featured a Superman figure in the cockpit. His face, hair, and costume were touched in with colored paints, and his view-scope was represented. As with most large-scale Corgis, the Supermobile had working action features. The first was a “pushbutton striking fist action.” When chrome buttons under each wing were pushed, the fists would alternatively strike and retract, giving a “one-two punch” effect. It could also fire two missiles from launchers in its nose. These were activated by pressing down on the vehicle’s suspension. Four red plastic missiles were included in the box, although these were probably soon lost by most kids. The Supermobile came packaged in a colorful window box, with an illustration of Superman by Neal Adams on the header card.

CORGI JUNIORS Corgi also produced a range of miniature vehicles, similar in size to Hot Wheels and Matchbox toys. These were originally called Husky Toys, but were later renamed Corgi Juniors. While the large Corgi Toys were made to a nominal 1/36 scale, the Juniors were closer to 1/64. Most of the large models were duplicated in the smaller scale, including the Batmobile, Batboat, and 007 Aston Martin. Early releases were almost as well detailed as the larger models, but by 1979 quality had declined. The four large Superman items (Supermobile, SuperVan, Daily Planet Helicopter, and Metropolis Police Car) were all replicated in miniature, and were joined by a fifth Juniors-only release, a Daily Planet Delivery Truck. The Junior Supermobile, while simplistic, was quite a charismatic little model. It had a striking fist action, but with a simpler mechanism than its larger counterpart. When the plastic tailpipe was pushed, both fists sprung out together. They then had to be popped back manually. There were no firing rockets. A Superman figure was in the cockpit, but only his face and hair were painted. His costume was left the same color as the red interior, which made him look more like Captain Marvel! The vehicle could roll along on three concealed wheels. Early versions came on a special blister card that had a detailed Neal Adams drawing of the Supermobile on a yellow background. This picture highlighted the difference between the models and the comic versions. The robot arms didn’t just come out of holes in the sides of the fuselage, they extended from silver sleeve–like pods. Later versions were packaged on an orange blister card with a generic Adams illustration of Superman. However, by this time Corgi was cutting costs on the Juniors line. Late examples are in a darker shade of blue, and their rolling wheels are replaced by three bumps molded into the base. The striking fists were no longer chrome-plated, and the Superman figure and side pods were left unpainted.

No Parking Zone Lois Lane will think twice before accepting Supie’s next offer to go for a Sunday drive! Another electrifying García-López cover, from Action #482 (Apr. 1978). TM & © DC Comics.

SO WHICH CAME FIRST…? For years I had wondered about the origin of the Supermobile—did it first appear as a toy or in the comics? Action Comics #480 was coverdated February 1978, which meant it went on sale around November 1977. In those days, comics usually had a lead-in time of six months, meaning the story was written mid-’77. The toy was released in September 1979, although it usually takes nine to 12 months for a diecast toy to go from the design phase through to production. The obvious person to consult was Cary Bates, the longtime Superman and Flash writer who penned the four-part Supermobile storyline. I asked Cary if he was the creator of the Supermobile, or whether it was based on the model (or a proposal for it). “I’m of the opinion DC knew about the toy far in advance, because I seem to recall we were told to come up with a story to ‘justify’ a Supermobile toy. It’s highly doubtful this was a storyline either Julie [Schwartz] or I would’ve come up on our own,” says Bates. “I don’t think Julie had any intention of keeping it around as a permanent fixture in the Superman mythos, other than as a possible background detail in a Fortress of Solitude display.” I also consulted Bob Rozakis, who, in addition to being one of DC’s writers, was also heavily involved in the production and editorial departments at the time. As it turned out, Bob has a clear recollection of the Supermobile: “In fact, I was sitting in Julie’s office when Sol Harrison, then the DC president, LATER APPEARANCES came in and told him that he would have to use The Supermobile has made very few comic-book a Supermobile in a story. They were looking for ‘a appearances after its introductory story, although it Batmobile for Superman.’” Over five million Corgi was sometimes seen parked in the Fortress of Solitude. Batmobiles had been sold, earning considerable However, it did make a few appearances on the royalties for DC, so it makes sense that Harrison various incarnations of the long-running Super would give top priority to cooperating with Friends animated TV show, with a substantial josé luis garcía-lópez another Corgi project. role in the episode “The Krypton Syndrome.” It So where did the design for the did not appear in the post–Crisis DC Universe, Supermobile come from? Was it designed insave a couple of tongue-in-cheek cameos in All-New Atom #8 and house by Corgi, or did someone at DC come up with the look? Cary Tales of the Unexpected #5, both cover-dated April 2007. Bates suspects that the idea came from Corgi. “It’s quite possible there were already preliminary designs for the toy in the works which GETTING A SUPERMOBILE Ultimately, Corgi’s Supermobile was nowhere near as successful as were supplied to DC’s artists,” he says. I asked cover artist José Luis García-López if he had any recollections the Batman vehicles—only about 250,000 large Supernobiles were about the design of the Supermobile. “The covers were done after produced. They remained in production until mid-1983, when the the interior pages penciled by Curt Swan,” García-López states. original Corgi company went into liquidation. Today, a mint and boxed large Corgi Supermobile should cost “The editor, Julie Schwartz, asked me specifically to highlight the plane.” From Bates’ and García-López’s reactions, I got the impression you between $60 and $100. Look out for broken fists on unboxed that product tie-ins were not particularly favored assignments at DC. Supermobiles. The “wrists” are quite fragile. Reproduction missiles José adds, “I believe the design was provided by the toy company. are available. The Junior version can cost between $20 and $50, If the design came from DC, I wasn’t aware of this and I’ve never depending on variations and box types. known of any artist claiming responsibility for this ridiculous idea. Early examples with rolling wheels on yellow So I suppose the only reason of its appearance in a comic book was blister cards are considered most desirable. [Editor’s note: Post–Corgi, in the mid-1980s just to promote the toy.” The fact that García-López’s covers for Action #481 and 482 were so similar would indicate that he had Kenner added a Supermobile—sans punching fists—to its Super Powers line.] limited material to work from. While toy crossovers were not unknown at DC, which had Special thanks to Cary Bates, Bob Rozakis, and José Luis previously produced comics based on Captain Action and Hot García-López for their help in researching this article, Wheels, they were rarely incorporated into mainstream continuity and to Nigel McMillan for his sterling photography. like at Marvel. Rozakis suggests two other Superman-related MIKE PIGOTT is a London-based freelance writer examples: Luthor’s battlesuit, which was created for Kenner’s Super who specializes in diecast toys and model vehicles. Powers action-figure line, and DC Comics Presents #47, which teamed His articles appear in every issue of Diecast Collector Superman with Mattel’s Masters of the Universe. Magazine and Diecast Model World. Superman in the Bronze Age Issue

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Just imagine… The Man of Steel married to Lois Lane! Clark Kent … mild-mannered editor for a great metropolitan newspaper! A Superman with gray hairs! It wasn’t a dream, a hoax, or an imaginary tale. By the early ’70s, the DC Comics powers-that-were had declared that Superman would never age beyond his 30th birthday, but fans could find a more mature Man of Steel elsewhere. This was the Superman who had lifted that famous green car aloft in 1938, who fought social problems as often as mad scientists, who could initially only leap an eighth of a mile. This Golden Age Man of Steel allowed writers and artists the chance to examine the legendary character in ways his younger counterpart could not.

THE AMAZING STORY OF SUPERMAN GOLD AND SUPERMAN SILVER Unlike other Golden Age characters revived during the Silver Age, Superman had been continuously published since his inception. The idea of a Golden Age Superman existing as a separate character in the parallel universe of Earth-Two no doubt stemmed from the need to keep the annual Justice League/Justice Society of America crossovers fresh with newly unearthed characters from DC’s past. Under editor Julius Schwartz, Justice League of America scribe Denny O’Neil penned the tale that showed us that there were indeed two Supermen in the DC Multiverse in JLA #74–75 (Aug.–Sept. 1969). Artists Dick Dillin and Sid Greene illustrated the elder and younger Supermen exactly the same. In fact, without the word balloons and captions, it’s impossible to tell which Superman is which. When the evil Aquarius brainwashes the JSA into fighting their friends, it’s apparent the two Men of Steel are evenly matched. In a JSA pinup in JLA #78, artist Murphy Anderson gave the older Kryptonian an “S” insignia harkening back to Golden Age covers drawn by artist Fred Ray. Although it would be several years before this innovation took hold, the distinct chest symbol would become one of the key visual differences between the two Supermen. Writer Mike Friedrich made a significant contribution to the character in a single explanatory caption in JLA #91 (Aug. 1971). He described the Earth-Two Superman as “Superman (Clark Kent—editor of the Metropolis Daily Star).” Readers now knew that this Clark Kent had made strides in his private life as well, not content to be a pair of glasses Superman hides behind. The Daily Star was one of many predecessors that Superman creators Jerry Siegel and Joe Shuster named as Kent’s employer before settling by the early 1940s on the now-world-famous Daily Planet. By citing the Star as Superman’s paper of choice, Friedrich and editor Schwartz let it be known that Earth-Two was a parallel world not entirely beholden to established canon, but somewhat of a blank canvas for creators to explore facets of the characters long forgotten, or never before conceived.

Mr. and Mrs. Superman The cover to Action Comics #484 (June 1978), by José Luis García-López and Dick Giordano, featuring the wedding of the Earth-Two Superman and Lois Lane. This beautifully drawn cover is a bit sneaky—its composition hides Superman’s “S” insignia and doesn’t depict his graying temples, visual cues to the Golden Age character’s identity, leading the uninitiated buyer to believe this is “their” (Earth-One’s) Supie tying the knot (although Earth-Two’s Daily Star is shown, for those looking beyond the main figures). TM & © DC Comics.

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Chris Franklin

Love, Kryptonian Style Kal-L takes Lois Lane to his Secret Citadel in this page from the landmark tale “Superman Takes a Wife,” from Action #484. Script by Cary Bates, pencils by Curt Swan, and inks by Joe Giella. TM & © DC Comics.

Kryptonian Cousins The Earth-Two Superman was featured briefly in the Justice Society/Super Squad series of the ’70s, alongside his young cousin Power Girl. (left) Cover to All-Star Comics #65 (Mar.–Apr. 1977), sporting the spiffy art team of Keith Giffen and Wally Wood, whose Metropolis Marvel (inset) harkened back to Joe Shuster’s Golden Age Superman. TM & © DC Comics.

In JLA #107 and 108 (Sept.–Oct. and Nov.–Dec. 1973), Dick Dillin and inker Dick Giordano once again gave the Man of Tomorrow a retro “S” shield. An even more drastic change was initiated in this storyline—the ageless Kryptonian was given … gray hairs! In the time-honored tradition of aging heroes like Jay Garrick and Reed Richards, the JSA’s Superman was given gray (or white) temples. The distinguished look would be a permanent marker for artists to distance this Superman from his younger counterpart. Writer Len Wein portrayed a more passionate and assertive Superman, as opposed to his saint-like Earth-One “brother.” He clearly enjoyed another chance to destroy Nazi tanks on the parallel world of Earth-X. This portrayal recalled the earliest Superman tales, where he was shown to be a bit more forceful at times.

KRYPTONIAN KITH AND KIN The JSA returned home to a revived All-Star Comics #58 (Jan.–Feb. 1976), where writer Gerry Conway and artists Ric Estrada and Wally Wood introduced new recruit Power Girl. This Maid of Might happened to be the cousin of the JSA’s Superman, effectively making her the Earth-Two equivalent of Supergirl. Unlike her Earth-One counterpart, Power Girl was a headstrong feminist with a chip on her shoulder, determined to prove anything a Superman could do, she could do better! Superman returned to the JSA in a grand fashion in All-Star #62, courtesy of exiting writer Conway and co-writer Paul Levitz. Artists

Keith Giffen and Wood depicted a barrel-chested, squinty-eyed Superman reminiscent of Joe Shuster’s version, making his famous costume change and leaping tall buildings on his way to JSA HQ. When asked if this elaborate intro was Conway’s idea the writer responds, “Probably mine, though it was really a no-brainer (and I’ve often been accused of having little or no brain). Using Superman as a way to pull in readers to a new DC title was as par for the course in the ’60s and ’70s as using Batman is today.” And what of the Giffen/Wood retro Superman? “Loved it, and thought it was a great way to make clear that this wasn’t the Superman we all knew from Earth-One.” Power Girl was less than thrilled to see her cousin. Clearly Conway and Levitz were exploring some new territory, examining the relationship between Superman and his protégé in a way the standard Earth-One universe would not allow. Had he not left the title, would Conway have continued to mine the strained relationship between these two super-kinfolks? “Absolutely—what’s the point of having strained relationships between your characters if you don’t either explore or resolve them? And, of the two, exploring is much more fun and productive than resolving any day.” Confident his boots were filled admirably, Superman made only occasional appearances during the rest of the JSA revival. Levitz also penned the first origin story ever devised for the original super-team, in DC Special Series #29 (Aug.–Sept. 1977). At the tale’s end, it was Superman himself who named the fabled team.

TWO SUPERMEN IN ONE! The aging hero had to face the mortality of his human companions courtesy of Conway and longtime Superman artist Curt Swan in Superman Family #186–187 (Dec. 1977–Feb. 1978). His pal Jimmy Olsen was dying, and only a healthy organ replicated from the Earth-One Jimmy could save him. Superman’s journey to Earth-One accidentally unleashed an interdimensional warrior named Krogg on the younger Superman’s world. The two Supermen were forced to merge into one giant being via the JLA’s Transmatter device in order to stop Krogg from destroying the Earth. With two minds in one body, the Men of Steel quickly discerned their foe’s one weakness, blasting him with a barrage of heat vision, and in a break with time-honored tradition, murdering the marauding alien. E-Two Superman departs with the E-One Jimmy, Superman in the Bronze Age Issue

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and his friend is soon saved, leaving the E-One Man of Tomorrow certain he never wants to lose his individuality like that again. This story established the notion that even parallel doppelgangers are unique individuals, and not merely copies of one another. Why did Conway wish to explore the differences between the Supermen? “My own fanboy tendencies,” he says. “At the time I was collecting early Superman and Action Comics (before prices went up astronomically in the ’90s) and really liked the original take on the character, before he became weighted down by the impossibly-goodguy image of the ’50s and ’60s. So it was fun to try and extrapolate that a bit, playing with an older, more seasoned but lessmythological Man of Tomorrow.”

Finally able to see his true nature, Lois Lane quickly falls in love with Kent, and the two are married. When her groom survives an attempt on his life by Colonel Future, the intrepid Mrs. Kent discovers her husband’s forgotten identity. Realizing the Wizard was to blame for Clark’s mystical amnesia, she coaxes the evil mage into reversing his spell. Lois is willing to give her man back to the universe he defends, but Superman realizes what he had been mistaken in keeping Lois out of his life for all of those years. The couple renews their vows in a Kryptonian ceremony at Superman’s Secret Citadel, the Golden Age forerunner to the Fortress of Solitude. This issue also contains a text feature detailing the various differences between the two Supermen, penned by longtime SUPERMAN TAKES A WIFE! editorial assistant and Superman expert E. On the cover of the 40th anniversary issue of Action Nelson Bridwell. Chief among the discrepancies Comics (#484, June 1978), Superman once again held revealed: Earth-Two’s Superman’s Kryptonian name a car aloft, but this time he had a blushing bride in was Kal-L, as in the earliest Superman tales, as opposed the other hand. Superman had finally married Lois Lane! to the more familiar Kal-El; and this Superman did Inside, longtime Superman scribe Cary Bates, not have a crimefighting career as Superboy as he penciler Curt Swan, and inker Joe Giella spun a tale did on Earth-One. gerry conway set in the early 1950s, involving the Earth-Two Man Spinning off from this anniversary issue, the of Steel’s continuing battle against sci-fi crimeboss “Mr. and Mrs. Superman” series debuted in Colonel Future. The Colonel is desperate to destroy Superman #327 (Sept. 1978) under Bates and his superpowered rival and calls upon the JSA’s old foe the Wizard longtime Lois Lane artist Kurt Schaffenberger. The series would find to do it. With the fabled wand of Merlin, the Wizard actually succeeds a permanent home in Superman Family beginning with issue #195 in destroying Superman, as he disappears into the very earth. What the (June–July 1979). Bates penned the first five tales, covering Clark villain doesn’t see is Clark Kent rising from those ashes, a Clark Kent Kent’s appointment to Daily Star editor over fellow reporter Perry with no memory of his life as Superman. White, and the final defeat of the elusive Colonel Future. For the next year, Kent becomes a crusading crime reporter, causing With issue #199, E. Nelson Bridwell assumed the writer’s chair and just as much trouble for the underworld as the Man of Steel did. unearthed long forgotten aspects of the mythology, including the return of the red-haired Luthor of the Golden Age, and other villains such as Ultra-Humanite, the Archer, and the original Metalo. As the series progressed, Superman and Lois met the Earth-Two Lana Lang (and her alter ego, the Insect Queen); helped Johnny Thunder’s Thunderbolt save his master from an evil Bahdnesian shaman; stumbled into a sting operation set up by Green Lantern’s friendly foe, the Harlequin; and even attended the wedding of Batman and Catwoman before Superman Family folded with issue #222 (Sept. 1982).

ALL-STAR SUPERMAN The Golden Age Superman was a cast member in Roy Thomas’ retroactive WWII opus, All-Star Squadron. When asked what appealed to him about using the Man of Steel, Thomas answers, “He was nearly the first, and certainly the most important, superhero. He had to be in there.” Superman was not a series regular, though, and this was mostly by Thomas’ design, and not by any editorial edict limiting the character’s exposure. “He was very powerful … and very familiar to

Superman of Two Worlds (inset) Superman teams with Superman, in 1982’s DC Comics Presents Annual #1. Cover art by Rich Buckler and Dick Giordano. (left) The Supermen communicate across dimensions on the Annual’s page 19, while— look out, it’s the Luthors! Story by Marv Wolfman, art by Buckler and Dave Hunt. Original art courtesy of Heritage Comics Auctions (www.ha.com). TM & © DC Comics.

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Roy Couldn’t Resist… …occasionally guest-starring comics’ original superhero in his ’80s series All-Star Squadron—thanks, Mr. Thomas! And we couldn’t resist showing off this powerful Jerry Ordway cover to issue #22 (June 1983, left). (right) Readers said goodbye to the Golden Age Superman in Crisis on Infinite Earths #12 (Mar. 1986). Cover by George Pérez. TM & © DC Comics.

the readers … and I wanted to emphasize a handful of heroes, including those who hadn’t been in the JSA.” Over the course of the series, Superman and friends faced the Ultra-Humanite and the mystical Powerstone, Mr. Mind’s initial Monster Society of Evil, and even a Hitler-controlled Captain Marvel! Thomas included Superman in his other JSA-related titles of the ’80s. Superman and the JSA went rogue in the first story arc in Infinity, Inc., where he nearly beat his cousin Power Girl to death before being freed from the machinations of the Ultra-Humanite. The JSA’s woes continued in America vs. the Justice Society, where they were branded traitors in a complex plot involving their longtime enemy Per Degaton.

VERY SPECIAL GUEST STAR Throughout the early ’80s, Earth-Two’s greatest hero was quite the hot guest star across DC’s comic line. In The New Adventures of Superboy #15–16, the Earth-One Superboy makes an unexpected trip through space and time to meet a young Clark Kent of Earth-Two, just then discovering his powers and abilities. World’s Finest #271 finds scribe Roy Thomas establishing classic tales from Superman’s 1940s radio program as Earth-Two canon. He recaps Superman’s first encounter with Batman and Robin, and his epic battle with the Kryptonite-powered Atoman, who is defeated in the present day by the JLA’s Superman and Batman, with an assist from JSAers Superman and Robin. JLA #195–197 featured the last JLA/JSA case involving the EarthTwo Superman. In this Gerry Conway-penned tale, Superman led the charge against Ultra-Humanite and his Secret Society of SuperVillains, and fans got to see George Pérez’s first assignment drawing Kal-L. It wouldn’t be his last. In DC Comics Presents Annual #1 (1982) by Marv Wolfman, Rich Buckler, and Dave Hunt, the Supermen of two worlds combined forces to stop the threat of their respective Luthors and their own evil doppelganger, Ultraman, the villainous Superman of Earth-Three. Readers were also introduced to Earth-Three’s first superhero, Alexander Luthor, who begins a romance with that world’s Lois Lane! These characters and concepts would play significant roles in Crisis on Infinite Earths, a series that would alter the DC Universe, and the character of Superman, forever.

THE FINAL CRISIS The original superhero featured prominently in Wolfman and Pérez’s epic 12-part Crisis maxiseries, designed to streamline the DC Universe and potentially make it more accessible to new readers. Kal-L is one of the first heroes gathered from across the multiverse to confront the oncoming threat of the Anti-Monitor. After the cosmic melee results in the remaining universes being merged into one, Superman is without a world once more. And even more devastatingly, his beloved Lois has been seemingly wiped from existence. With literally nothing to lose, Superman faces the Anti-Monitor on his own and delivers the final blow that destroys the god-like being once and for all. For his years of service, Superman deserved a proper sendoff. In the final issue, Superman discovers his wife is alive, and the two leave the new reality to exist in cosmic heaven inside Alexander Luthor, Jr., along with the Superboy of Earth-Prime, (supposedly) never to return.

SUPERMAN RETURNS Readers were surprised to see this Superman longing to break free from his personal paradise in The Kingdom miniseries (Feb. 1999). He finally escaped in Infinite Crisis #1 (Dec. 2005). Unfortunately, the original Superman was an unwilling pawn of former allies Alexander Luthor and Superboy-Prime, the latter of whom violently murders the elder Man of Steel by miniseries’ end. He returned again as a possessed zombie in DC’s “Blackest Night” crossover. He should have stayed in heaven.

NEVER-ENDING BATTLE Despite his grisly end, many fans still fondly recall the adventures of this mature Superman. The greatest hero of the greatest generation is not one to be easily forgotten. Although DC has again rebooted its continuity, replete with an entirely new Earth-Two, the legacy of the original Man of Steel cannot be erased. It will live on though back-issue bins, trade paperbacks, and archival editions, where more thrill-packed episodes and amazing adventures await. CHRIS FRANKLIN is a graphic designer and illustrator. As a kid, he liked to think of the Earth-Two Superman as George Reeves, and the Earth-One version as Christopher Reeve.

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Chris Marshall

Editor’s Note: Looking to complete your collection of Superman tales from the 1970s and 1980s but can’t afford back-issue prices? Here’s a checklist of reprints courtesy of Chris Marshall of Collected Comics Library (www.collectedcomicslibrary.com) fame! SUPERMAN FAMILY COLLECTED EDITIONS Superman: From the ’30s to the ’70s (Bonanza Books, 1971) Superman #233, “Superman Breaks Loose” Action Comics #398, “The Pied Piper of Steel” Action Comics #399, “Superman … You’re Dead … Dead …Dead!” Action Comics #400, “Duel of Doom” The Great Superman Comic Book Collection (1981) (Note: This is DC Comics’ first collected edition.) The Amazing World of Superman, Metropolis Edition, “The Origin of Superman” Superman #296, “Who Took the Super Out of Superman?” Superman #297, “Clark Kent Forever—Superman Never!” Superman #298, “Clark Kent, Get Out of My Life!” Superman #299, “The Double-orNothing Life of Superman!”

The Greatest Superman Stories Ever Told (1987) Forever People #1, “The Forever People” Superman #247, “Must There Be a Superman?” Superman Annual #11 (1985), “For the Man Who Has Everything…” Superman (vol. 2) #2, “The Secret Revealed!” Superman in the Seventies (2000) Action Comics #484, “Superman Takes a Wife!” DC Comics Presents #14, “Judge, Jury … and No Justice” Superman #233, “Superman Breaks Loose” Superman #247, “Must There Be a Superman?” Superman #248, “The Man Who Murdered the Earth!” Superman #249, “The Challenge of Terra-Man” Superman #270, “I Can’t Go Home Again” Superman #271, “The Man Who Murdered Metropolis!” Superman #276, “Make Way for Captain Thunder” Superman #286, “The Parasite’s Power Play” Superman #287, “Who Was That Dog I Saw You with Last Night?” Superman’s Girl Friend, Lois Lane #106, “I Am Curious (Black)!” Superman’s Pal, Jimmy Olsen #133, “Jimmy Olsen Brings Back the Newsboy Legion” Jimmy Olsen: Adventures by Jack Kirby, Volume 1 (2003) Superman’s Pal, Jimmy Olsen #133–139, 141 Jimmy Olsen: Adventures by Jack Kirby, Volume 2 (2004) Superman’s Pal, Jimmy Olsen #142–148, 150

Superman: From the ’30s to the ’80s (Crown Publishers, 1983) The Amazing World of Superman, Metropolis Edition, “The Origin of Superman” Superman #233, “Superman Breaks Loose” Action Comics #398, “The Pied Piper of Steel” Action Comics #399, “Superman … You’re Dead … Dead … Dead!” Action Comics #507, “The Miraculous Return of Jonathan Kent!” Action Comics #508, “The Secret World of Jonathan Kent!”

Superman: The Greatest Stories Ever Told (2004) Superman #247, “Must There Be a Superman?” Superman #400, “The Exile at the Edge of Eternity” Man of Steel #1, “The Man of Steel” Superman (vol. 2) #18, “Return to Krypton” Superman vs. the Flash (2005) World’s Finest #198, “Race to Save the Universe!” World’s Finest #199, “Race to Save Time”

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DC Comics Presents #1, “Chase to the End of Time!” DC Comics Presents #2, “Race to the End of Time!

Superman vs. Lex Luthor (2006) Superman #292, “The Luthor Nobody Knows” Action Comics #544, “Luthor Unleashed” Superman #416, “The Einstein Connection” Man of Steel #4, “Enemy Mine” Superman (vol. 2) #9, Metropolis 900 Miles” Superman: The Bottle City of Kandor (2007) Superman Family #194, “Showdown” Superman #338, “Let My People Grow!” Superman/Batman: Saga of the Super Sons (2007) World’s Finest Comics #215–216, 221–222, 224, 228, 230, 231, 233, 238, 242, and 263

Superman in the Eighties (2006) Action Comics #507, “The Miraculous Return of Jonathan Kent!” Action Comics #508, “The Secret World of Jonathan Kent!” Action Comics #554, “If Superman Didn’t Exist” Action Comics #595, “The Ghost of Superman” Action Comics #600, “Lois Lane” and “Games People Play” Action Comics #644, “Doppelganger” Superman #408, “The Day the Earth Died!” DC Comics Presents #29, “Where No Superman Has Gone Before!” Adventures of Superman #430, “Homeward Bound” Superman: The Daily Planet (2006) Action Comics #429, “The Man Who Wrote Superman’s Obituary” Action Comics #436, “The SuperCigars of Perry White!” Action Comics #461, “The Toughest Newsboy in Town!” Superman #280, “The Last Headline!” Superman: The Greatest Stories Ever Told, Volume 2 (2006) Superman #233, “Superman Breaks Loose” Superman #400, “The Legend from Earth Prime” Superman (vol. 2) #2, “The Secret Revealed!”

Superman/Batman: The Greatest Stories Ever Told (2007) World’s Finest Comics #207, “A Matter of Light and Death” Man of Steel #3, “One Night in Gotham City…”

Superman vs. Brainiac (2008) Action Comics #489, “Krypton Dies Again” Action Comics #490, “No Tomorrow for Superman” Action Comics #491, “A Matter of Light and Death” Adventures of Superman #438, “…The Amazing Brainiac” Superman: Past and Future (2008) Superman #295, “Costume, Costume— Who’s Got the Costume?” Superman #300, “Superman, 2001!”

Superman: World of Krypton (2008) World of Krypton 1, “Pieces” World of Krypton 2, “After the Fall” World of Krypton 3, “History Lesson” World of Krypton 4, “Family History” Man of Steel #1, “From Out the Green Dawn…” Superman #233, “Jor-El’s Golden Folly” Superman #236, “The Doomsayer!” Superman #238, “A Name is Born” Superman #240, “The Man Who Cheated Time” Superman #248, “All in the Mind!” Superman #257, “The Greatest Green Lantern of All!” Superman #266, “The Face on the Falling Star!” Superman Family #182, “The Stranger” Superman #367, “…And Not a Drop to Drink” Superman #375, “Last ‘Scoop’ on Krypton!”

Action Comics #539, “Past Imperfect!” Action Comics #540, “World Enough and Time” Action Comics #541, “Once Again— Superman” Action Comics #544, “Rebirth!” Action Comics #545, “…With But a Single Step!” Action Comics #546, “Showdown!” Action Comics #551, “Superman: Friend or Foe?” Action Comics #552, “Another Time! Another Death” Action Comics #553, “The World at Time’s End” Action Comics #554, “If Superman Didn’t Exist…” Superman Special #1, “Behold! The Ultimate Man!” Showcase Presents: World’s Finest Comics, Volume 4 (2012) World’s Finest Comics #191–196, 198–202 Superman: Kryptonite Nevermore! (2012) Softcover reprinting of DC Comics Classics Library hardcover edition listed above. Superman: Secrets of the Fortress of Solitude (2012) DC Special Series #26, “Fortress of Fear” Action Comics Annual #2, “Memories of Krypton’s Past” Superman vs. Shazam! (2013) All-New Collectors’ Edition #C-58 DC Comics Presents #33–34, 49 DC Comics Presents Annual #3 Superman vs. Zod (March 2013) Action Comics #473, 548–549 DC Comics Presents #97

DC Comics Classics Library: Superman - Kryptonite Nevermore! (2009) Superman #233, “Superman Breaks Loose” Superman #234, “How to Tame a Wild Volcano!” Superman #235, “Sinister Scream of the Devil’s Harp!” Superman #236, “Planet of the Angels” Superman #237, “Enemy of Earth” Superman #238, “Menace at 1000 Degrees!” Superman #240, “To Save a Superman” Superman #241, “The Shape of Fear!” Superman #242, “The Ultimate Battle!”

Adventures of Superman: José Luis García-López (April 2013) Superman #294, 301–302, 307–309, 347 All-New Collectors’ Edition #C-54 DC Comics Presents #1–4, 17, 20, 24, 31 SUPERMAN COLLECTED EDITIONS – POST–CRISIS STORIES

Showcase Presents: DC Comics Presents Superman Team-Ups, Volume 1 (2009) DC Comics Presents #1–26 Whatever Happened to the Man of Tomorrow? Deluxe Hardcover (2009) Superman #423, Part 1 Action Comics #583, Part 2 Superman Annual #11 (1985), “For the Man Who Has Everything…” DC Comics Presents #85, “The Jungle Line” Superman vs. Muhammad Ali - DC Comics Deluxe Edition (2010) All-New Collectors’ Edition #C-56 (1978) Adventures of Superman: Gil Kane (2012) Superman #367, “…And Not a Drop to Drink” Superman #372, “Kidnappers in the Sky!” Superman #375, “Last Scoop on Krypton!”

Man of Steel, Volume 1 (1991) Man of Steel #1, “From Out the Green Dawn…,” “The Secret,” “The Exposure,” “The Super-Hero” Man of Steel #2, “The Story of the Century” Man of Steel #3, “One Night in Gotham City…”

Man of Steel #4, “Enemy Mine” Man of Steel #5, “The Mirror, Crack’d…” Man of Steel #6, “The Haunting” Lois and Clark: The New Adventures of Superman (1994) Superman (vol. 2) #9, Metropolis 900 Miles” Superman (vol. 2) #11, “The Name Game” Superman Annual (vol. 2) #1, “Tears for Titano” Action Comics #600, “Lois Lane” Adventures of Superman #445, “Headhunter” Man of Steel #2, “The Story of the Century” Superman: Exile (1998) Superman (vol. 2) #28, “Superman in Exile” Superman (vol. 2) #29, “If This Be Fate” Superman (vol. 2) #30, “Alone!” Superman (vol. 2) #32, “Gladiator” Superman (vol. 2) #33, “Two Destinies” Adventures of Superman #451, “Dangerous Ground” Adventures of Superman #452, “Hell Beyond” Adventures of Superman #453, “Apparitions” Adventures of Superman #454, “Wayfarer” Adventures of Superman #455, “Heritage” Adventures of Superman #456, “Redemption!” Action Comics Annual #2, “Memories of Krypton’s Past” Action Comics #643, “Superman on Earth”

Action Comics #591, “Past Imperfect” Adventures of Superman #430, “Homeward Bound!” Adventures of Superman #431, “They Call Him—Doctor Stratos” Legion of Super-Heroes #37, “A Twist in Time” Legion of Super-Heroes #38, “The Greatest Hero of Them All” Man of Steel, Volume 5 (2006) Superman (vol. 2) #9, “To Laugh and Die in Metropolis” Superman (vol. 2) #10, “The Super Menace of Metropolis” Action Comics #592, “…A Walk on the Darkside” Action Comics #593, “The Suicide Snare” Adventures of Superman #432, “Gangwar Part One: From the Streets, To the Streets!” Adventures of Superman #433, “Gangwar Part Two: A Tragedy in Five Acts” Adventures of Superman #434, “Gangwar Part Three: Shambles” Adventures of Superman #435, “The Circle Turns” Man of Steel, Volume 6 (2008) Superman (vol. 2) #12, “Lost Love” Superman Annual #1 (1987), “Tears for Titano!” Action Comics #594, “All that Glisters” Action Comics #595, “The Ghost of Superman” Action Comics Annual #1 (1987), “Skeeter” Adventures of Superman Annual #1 (1987), “The Union” Booster Gold (vol. 1) #23, “Blind Obsession” SUPERMAN REFERENCE EDITIONS

Man of Steel, Volume 2 (2003) Superman (vol. 2) #1, “Heart of Stone” Superman (vol. 2) #2, “The Secret Revealed!” Superman (vol. 2) #3, “Legends from the Darkside” Action Comics #585, “And the Graves Give Up Their Dead…” Action Comics #586, “The Champion” Action Comics #587, “Cityscape!” Adventures of Superman #424, “Man o’ War!” Adventures of Superman #425, “Going the Gauntlet” Adventures of Superman #426, “From the Dregs” Man of Steel, Volume 3 (2004) Superman (vol. 2) #4, “Bloodsport!” Superman (vol. 2) #5, “The Mummy Strikes” Superman (vol. 2) #6, “The Last Five Hundred” Action Comics #588, “All Wars Must End Part Two” (Note: Story continued from Hawkman, 1986 series, #10 and continues in Hawkman #11) Action Comics #589, “Green on Green” Adventures of Superman #427, “Mind Games” Adventures of Superman #428, “Personal Best” Adventures of Superman #429, “Old Ties” Man of Steel, Volume 4 (2005) Superman (vol. 2) #7, “Rampage” Superman (vol. 2) #8, “Future Shock!” Action Comics #590, “Better Dying Through Chemistry”

The Great Superman Book by Michael L. Fleisher (Warner Books, 1978), revised as Original Encyclopedia of Comic Book Heroes, Volume 3: Superman (2007) Superman: The Ultimate Guide to the Man of Steel by Scott Beatty (DK Children, 2006) The Krypton Companion by Michael Eury (TwoMorrows Publishing, 2006) The Essential Superman Encyclopedia by Robert Greenberger (Del Ray, 2010) Superman: The High-Flying History of America’s Most Enduring Hero by Larry Tye (Random House, 2012)

Superman in the Bronze Age Issue

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With its April 1985 cover date, Crisis on Infinite Earths #1 hit the stands and forever altered the face of the DC Universe. Eleven months later, Crisis ended and a new era was ushered in. Three months after Crisis on Infinite Earths #12 (Mar. 1986), Man of Steel #1 (July 1986) presented a brand-new origin for Superman. While the post–Crisis Clark Kent’s Kryptonian origins were revealed to him in Man of Steel #6 (Sept. 1986) the pre–Crisis Clark Kent died in Superman #423 (Sept. 1986). This death wasn’t a stunt and there never was a resurrection. Kent’s death was part of the innovative two-part Superman tale “Whatever Happened to the Man of Tomorrow?,” appearing in Superman #423 and Action Comics #583 (both Sept. 1986). The story was intended to close the book on the Silver Age or pre–Crisis Superman, and whether or not it did depends on your interpretation.

Aidan M. Mohan

SAYING GOODBYE TO THE EARTH-ONE SUPERMAN The Man of Tomorrow first appeared in Action Comics #1 (June 1938), which included an origin for the hero. The origin was later expanded in the first Superman newspaper strips. Eleven years later, when the Golden Age came to a close, Superman remained in publication and was never given a reboot like the Flash or Green Lantern. In The Flash #123 (Sept. 1961), the existence of Earths-One and -Two were revealed. Subsequent interactions between Earths-One and -Two explained that the Golden Age Superman continued to exist, alongside the Justice Society of America, on Earth-Two, while the Superman appearing in most of DC’s titles existed on Earth-One. The Superman of Earth-One continued to be the primary Superman until the Multiverse was done away with in Crisis, and the post–Crisis Superman took over as the primary Superman. The Golden Age Superman hadn’t gotten a goodbye story—he had simply continued to exist with a few gray hairs. That couldn’t happen this time around. Superman of Earth-One was gone for good. Editor Julius Schwartz was also going to be gone from the Superman books, and he wanted to end his era and his Superman’s era with a bang. But he struggled with how to properly say goodbye to his Superman. In Paul Kupperberg’s introduction to the 1997 trade paperback edition of Whatever Happened, Schwartz related the tale of how he thought up the conceit of the story and how Alan Moore became involved: “I would make believe that my last issues of Superman and Action Comics were actually going to be the last issues…” He decided to try to get Superman co-creatorJerry Siegel involved, but that fell through. Schwartz continued, “The next morning, still wondering what to do about it, I happened to be having breakfast with Alan Moore. So I told him about my difficulties. At that point, he rose out of his chair, and said, ‘If you let anybody but me write that story, I’ll kill you.’” At this point in his career, Alan Moore was still working with DC. He had already penned most of his infamous Swamp Thing run and would continue to write the book for a year after “Whatever Happened” was published. He had previously written Superman in the classic story “For the Man Who Has Everything” only a year earlier in Superman Annual #11 (1985). Rumors had been circulating in fan circles for some

Super Send-Off Detail from the cover of Action Comics #583 (Sept. 1983), closing the book on the adventures of the Earth-One Superman. Note that the Swanderson cover includes the artists themselves, as well as DC’s Julius Schwartz and Jenette Kahn, saying farewell to the Metropolis Marvel. TM & © DC Comics.

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Time Travel Paradox From Superman #423, the Man of Tomorrow is stunned to see a younger version of his cousin Kara, who had recently died in his arms in the landmark Crisis on Infinite Earths #7. (Ye ed ponders: Is it just me, or was it cruel for the Legion— who knows Superman’s and Supergirl’s fates as history— to toy with Kal-El’s emotions by allowing a younger Girl of Steel to drop by at this trying time? Still, it’s a touching scene expertly executed by Moore, Swan, and inker George Pérez.) TM & © DC Comics.

time after that that Moore would be the writer on Action Comics after his stellar outing on the Annual. September of ’86 was a great month for Moore and Moore’s fans. It is astounding to think that both parts of “Whatever Happened to the Man of Tomorrow?” and the first issue of Watchmen was released in the same month. In fact, this was a great time for all of the creative staff. George Pérez was still drawing the ever-popular The New Teen Titans and was hot off of Crisis. In that same introduction, Pérez revealed that “it was a dream come true for me to finally get to ink Curt Swan’s pencils, especially on his last Superman story, and to work with Alan Moore.” Curt Swan, who penciled both installments, was, like Julius Schwartz, saying goodbye to the books. His next Superman project wouldn’t come until January of 1988 with the release of the one-shot The Earth Stealers. Finally, the great Kurt Schaffenberger, who inked Swan on the second chapter in Action #583, wasn’t just saying goodbye to the Superman books with “Whatever Happened to the Man of Tomorrow?”—it was one of his last works in comics. The title of the tale comes from the “Whatever Happened To…?” back-up series in DC Comics Presents, published continuously from issue #25 (Sept. 1980) to #40 (Dec. 1981) and then again in issues #42 (Feb. 1982), #47 (July 1982), and #48 (Aug. 1982). Each installment would put a nice capper to a Golden or Silver Age or a longunseen character’s career. [Editor’s note: “Whatever alan moore Happened To…” will be featured two issues from now in BI #64, themed “Back-up Series.”]

MENACING THE MAN OF TOMORROW And so Superman #423 was released at the same time as Man of Steel #6 and Watchmen #1. Written, drawn, and edited by an all-star team all at high points in their careers, the issue begins with a framing sequence where Daily Planet reporter Tim Crane arrives to interview the Planet’s former star reporter, Lois Lane-Elliot, now a married mother, in the then-future of August 16th, 1997. Lois begins to tell the tale of the days leading up to Superman’s death. She speaks of how Superman, returning from a space mission, found Metropolis ravaged by the attacking Bizarro. Bizarro thinks that he’s not quite the perfect imperfect doppelganger of Superman. To make himself Superman’s true opposite, he has blown up Bizarro World, like Krypton’s explosion, and started to kill people as opposed to Superman’s saving them. And to complete his transformation, Bizarro kills himself. Superman and his colleagues are understandably horrified by the ordeal. Bizarro was formerly a goofy figure and now, in a matter of days, had massacred his whole planet and several Metropolians, and killed himself. Clark Kent arrives to work at WGBS-TV, where two unmarked packages have arrived for him. He opens the smaller of the two and dozens of little Superman action figures fly out of the box and begin attacking Clark with their heat vision. They burn off his clothes and reveal his Superman costume underneath. Two of the figures tell Superman

that they were sent by the Toyman and the Prankster, and invite him to open the large box. Superman complies, and the larger box is occupied by a dead Pete Ross. The two villains forced Pete to reveal Clark’s secret identity and then killed him. Superman follows the radio waves from the Toyman and the Prankster’s lair and captures the villains. At Pete Ross’ funeral, Superman expresses fear that some of his more murderous villains may come back in a similarly brutal fashion. At that time, in the frozen tundra, Lex Luthor happens upon the head of Brainiac. This was at a point where Brainiac was in his skeletal robot form, which had been destroyed by Superman. Luthor mistakenly believed that Brainiac was dead and planned to examine his alien physiology. Unfortunately for Luthor, Brainiac was indeed alive and took over Lex’s body, thus forming the new Brainiac/Luthor team. The Daily Planet building is attacked by a group of human beings who have been converted into Metallos. One of them attempts to exact revenge on Superman by killing Lois. But the damsel in distress is saved by Superman. Superman magnetizes the Daily Planet building’s rooftop globe and captures the Metallos. Concerned that another of his friends will die, Superman takes Perry and Alice White, Jimmy Olsen, Lana Lang, and Lois Lane to his Fortress of Solitude. When they arrive, so does Krypto the Superdog, returning from space and sensing danger ahead for Superman. Superman sends his guests to their quarters and is distressed to learn that the Whites are going through a rough patch in their marriage. In Metropolis, a rampaging Kryptonite Man is captured by Brainiac/ Luthor, operating from a rebuilt Brainiac skull ship. Back in the Fortress, a restless Superman wanders aimlessly. Suddenly, the Legion of Super-Heroes arrives in a time bubble, with Kara Zor-El Supergirl Superman in the Bronze Age Issue

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along with them. Superman is distressed to see this younger version of his newly deceased cousin, Supergirl having been murdered in Crisis on Infinite Earths #7 (Oct. 1985). The Legion presents Superman with an award, a statuette of the Metropolis Marvel holding the Phantom Zone Projector, and thanks him for his service. Superman realizes that these are his last rites and weeps. This first issue is jam-packed with references and continuity nods. The cover alone is a homage to similar covers from this era. The art by Curt Swan is excellent all throughout the story, but in this first part George Pérez’s inks truly shine. They do exactly what inks should do: enhance the pencils but not overpower them. As noted earlier, Julius Schwartz considered these issues the last of their respective series, hence an essay in the back of this issue by E. Nelson Bridwell on the history of Superman in the title Superman. In this first part, Moore’s use of the Brainiac/Luthor team revisits an idea that was first introduced in Superman #167 (Feb. 1964) and played with several times after that. In typical Moore fashion the idea is brought back, but darkly twisted. The Kryptonite Man makes a short appearance in this part, but plays heavily into the story later on. This Kryptonite Man was formerly the Kryptonite Kid, who first appeared in Superboy #83 (Sept. 1960). He gained his powers when he flew through a gaseous kryptonite

Something Borrowed, Something New (top) The Swanderson cover to 1986’s Superman #423 borrows from Silver Age sources including (bottom left) 1960’s Superman Annual #1. (bottom middle) Issue #423’s cover art was repurposed for this 1997 trade paperback, Superman: Whatever Happened to the Man of Tomorrow?, now out of print. (bottom right) The TPB’s memorial silver statue of our hero was inspired in part by 1963’s Superman Annual #7. TM & © DC Comics.

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cloud in space and on very rare occasions menaced Superboy and later Superman. This version of the character is most known for his appearance in this story and his appearance in the Superboy syndicated television series, where he was portrayed by Jay Underwood. [Editor’s note: More superhero trivia: Underwood was also Johnny Storm in the unreleased 1994 Fantastic Four movie. What is it about Human Torch actors playing other comic characters on screen? Chris Evans first connected with fans as the Torch in the two more recent FF movies, and followed that up with The Losers and Captain America.] It is interesting that even in the end, new concepts are being introduced to Superman. Bizarro’s so-called “Genius Bizarro Self-Improvement Plan” is a great idea. This brings us to one of the story’s weaknesses: Moore had only two issues to tell this story and had lots of story to tell. The Bizarro, Toyman, and Prankster story beats were just that—beats. There is no internal dialogue, although this is explained in story being that the tale is all a flashback narrated by Lois Lane-Elliot. Being in the era of decompressed comic-book storytelling that we are now, it is a bit strange going back and reading a tale like this that moves so quickly. Moore clearly has a lot of love for this era and this iteration of Superman. This was made startlingly clear with the version of the Kryptonite Man. Before this story, the Kryptonite Man had seven appearances. In an interview with Joseph P. Rybandt on the Superman fan site Superman Through the Ages, Moore revealed why he loved the character: “What it was with Superman was the incredible range of imagination on display with that original character. A lot of those concepts that were attached to Superman, which may seem corny and dated now, were wonderful at the time. The idea of the Bottle City of Kandor, Krypto the Superdog, Bizarro, all of it. These are fantastic ideas, and it was that which kept me going back each month to Superman when I was ten. I wanted to find out more about this incredible world with all of these fascinating details.”

SWAN SONG [SPOILER ALERTS] Action Comics #583 has a beautiful cover penciled by Curt Swan with inks by Murphy Anderson. Julius Schwartz recalled that he wanted to give the “Swanderson” team “one last chance to strut their stuff on Superman.” As a teary-eyed Superman flies toward us on this cover, we see in the distance upon

the Daily Planet rooftop the cast waving goodbye. Superman’s tears, said Schwartz, “are really Curt’s tears.” Standing on the building among Superman’s fellow heroes and his supporting cast are Jenette Kahn, Curt Swan, Murphy Anderson, and Julius Schwartz. [Editor’s note: The cover, sans some of its background characters, was recreated by Brian Bolland in 2009 for the Deluxe Edition of Whatever Happened to the Man of Tomorrow?] The story opens back with the framing sequence as Lois makes Tim Crane some coffee. It is at this point that we’re introduced to Lois’ husband, the working class Jordan Elliot. As Jordan leaves to take care of his and Lois’ child, Jonathan, she resumes her story. Superman melts away the Fortress’ golden key with his heat vision and prepares for the aptly called (in Moore’s caption) “siege of the Fortress of Solitude.” Outside of the Fortress, Brainiac’s skull ship arrives, and Brainiac/Luthor and the Kryptonite Man exit. A time bubble appears before the trio, and out comes the Legion of Super-Villains (Saturn Woman, Lightning Lord, and Cosmic King), who have come, like the Legion of Super-Heroes, to see Superman’s last days. Brainiac/Luthor creates a force field around the Fortress to prevent anyone from entering or exiting. The villains attack with weapons that Superman quickly disables, but he is unable too come to close due to the presence of Kryptonite Man. Superman joins Perry in his quarters and the two discuss how Superman could never tell Lois about his feelings for her. He feared that by doing so he would be hurting Lana. Across the Fortress, Lana and Jimmy are preparing to fight for Superman. Jimmy takes his Elastic Lad formula and Lana bathes in a radioactive lake and gains her superpowers. With her new superhearing, Lana overhears the conversation in Perry’s room. Lana and Elastic Lad attack the villains. Lana successfully kills the Luthor of the Brainiac/Luthor team but she is subsequently killed by Lightning Lord. Elastic Lad is then killed by Brainiac, who is still using Luthor’s body as a host, despite it being dead. Before his death, Elastic Lad had managed to shut off the force-field generator, yet the field remains. Brainiac ponders that it must be powered by an outside force. Brainiac nukes the Fortress and the Kryptonite Man invades. Krypto attacks the villain and kills him, but sacrifices himself in the process. The Legion of SuperVillains attacks as Superman attempts to bring Lois to

safety. When Superman learns of Lana’s death he screams, “You hurt Lana?” and fires his heat vision at the villainous trio, a moment that evokes memories of the famous “Burn!” scene from “For the Man Who has Everything.” The Legion of Super-Villains flees the scene, and Lois and Superman approach Brainiac. Brainiac attempts to attack, but Luthor’s body undergoes rigor mortis and he tumbles over in the snow. Brainiac’s head dies while futilely trying to kill Superman. Superman surmises that someone must have been manipulating the villains … and calls out to Mr. Mxyzptlk. The imp appears and reveals that boredom has inspired him to become truly evil. He manifests before Lois and Superman in his true energy form and attacks. Superman realizes, from the Legion’s statuette, that he could send Mxyzptlk to the Phantom Zone. He points the projector at Mxyzptlk, but as he fires the imp says his name in reverse and is torn in two. Superman reveals he knew that Mxyzptlk would do this and that killing him was his intention. He says goodbye to Lois and enters the Gold Kryptonite chamber. Tim Crane wraps up his interview for the tenth anniversary of Superman’s disappearance and leaves. Jordan and Lois plan dinner as baby Jonathan playfully squeezes coal into a diamond. Jordan winks at the audience as the story ends. In this issue, the Elastic Lad concept makes a comeback. This was basically another of Jimmy Olsen’s wacky transformations that first occurred in Superman’s Pal, Jimmy Olsen #31 (Sept. 1958) and many times after that. This second part of the story is just as jam-packed with plot as the first part, and quite possibly more so. It features the deaths of three incredibly important Superman characters and kills them off in an almost cavalier way. This is not to say that their deaths are poorly handled. Lana goes out like a hero for a man she loves (even though she has just learned he has never felt the same way toward her), and Jimmy shuts down the force-field generator and dies while attempting to avenge Lana. Through Gold K, Superman “dies” as a punishment for not living up to the standard he set for himself. And so it ends. Superman, the greatest hero of all, now works as a simple mechanic under the name of Jordan Elliot and has a son named after his adoptive father, Jonathan. This era of Superman was always

Superman in the Bronze Age Issue

Seems Like Old Times Alan Moore’s last Superman story dusted off some oldies but goodies from the Silver Age: (left) Superman’s pal’s elongated alter ego Elastic Lad, seen here in Jimmy Olsen #37 (June 1959, cover by Curt Swan and Stan Kaye); (2nd from left) the Kryptonite Kid (later Man), shown in his first appearance in Superboy #83 (Sept. 1960, cover by Swan and Kaye); (3rd from left) the lethal link-up of Lex Luthor and Brainiac, their first pairing being Superman #167 (Feb. 1964, cover by Swan and George Klein); and (right) the fearsome fiends from the future, the Legion of SuperVillains, seen here from an Adult Legion appearance in Adventure Comics #355 (Apr. 1967, cover by Swan and Klein). TM & © DC Comics.

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Superman’s Last Stand (left) The Last Son of Krypton destroys the key to his Fortress on the splash page to Action Comics #583 (Sept. 1986), the concluding chapter of Alan Moore’s “Whatever Happened to the Man of Tomorrow?” Original art courtesy of Heritage Comics Auctions (www.ha.com) and signed by the art team of Curt Swan and Kurt Schaffenberger. (Did Julie Schwartz ever call their pairing “Swanffenberger”?) (right) By having the child of the former Superman and Lois possess Daddy’s superpowers, Alan Moore gives us hope of more to come on this last page of “Whatever Happened to the Man of Tomorrow?”

much closer to his Kryptonian side, so it is logical he would chose his Kryptonian father’s name, Jor-El, as his own. These two issues had an enormous effect on Superman and comics in general. A few years later, when the new Superman took a life (three lives, in fact), he punished himself not by taking away his powers but by going on a self-imposed exile. It is important to remember that at this point there was only Green Kryptonite, so he couldn’t go the same route this Superman did. And when the new Brainiac/Luthor team was formed post–Crisis, it was an almost complete inverse of this partnership. Then, Brainiac (Milton Fine) was kept in a catatonic state, his powers were used against his will, and he was kept under the influence of drugs by Lex Luthor. When Infinite Crisis happened and changed the continuity of the entire DC Universe, the post–Crisis Superman was given his own version of “Whatever Happened to the Man of Tomorrow?” in “This is Your Life,

Superman,” which ran through all three Superman titles in February of 2009. Years after the final Earth-One Superman story, “Whatever Happened to the Caped Crusader?” was penned by Neil Gaiman and drawn by Andy Kubert for Batman #686 and Detective Comics #853 (both Apr. 2009). After “Whatever Happened to the Man of Tomorrow?,” which featured the “last issues” of Action Comics and Superman, Action continued publication written and drawn by John Byrne. Appropriately, Superman #423 actually was the last issue of the series with that title. Its name was changed to Adventures of Superman with issue #424 to make way for a new Superman title. All of that aside, “Whatever Happened to the Man of Tomorrow?” is a great read with some great art. It closed the book on this era of Superman respectfully and honestly. But most importantly, it allowed the new guns to go their own way with their Superman and tell some new tales about the World’s Greatest Superhero. AIDAN M. MOHAN mostly writes fiction. He’s the author of two self-published novellas and is a reviewer for several comic-related websites.

Next issue: “British Invasion”! The history of Marvel UK, Marvel “landscape” comics, the Beatles in comics, DC’s British talent pool of the 1980s, V for Vendetta, Excalibur, Marshal Law, Doctor Who, an interview with JIM STARLIN about his Marvel UK covers, and a “Pro2Pro” interview with PETER MILLIGAN and BRENDAN McCARTHY! Featuring BRIAN BOLLAND, ALAN DAVIS, JO DUFFY, DAVE GIBBONS, STAN LEE, DAVID LLOYD, JIM SALICRUP, DEZ SKINN, and others—and loads of art originally produced for the UK market. With a Mighty Marvel in London cover by RON WILSON and DAVE HUNT, showcasing art from Marvel UK’s 1970s “Quadra-Poster.” And get this—it’s a deluxe, 25-inch-long foldout triptych cover (although we’re only allowing you to sneak a peak at the front cover here)! Don’t ask—just BI it! See you in sixty!

80 • BACK ISSUE • Superman in the Bronze Age Issue

Michael Eury, editor-in-chief

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KIRBY COLLECTOR #60

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FANTASTIC FOUR FOLLOW-UP to #58’s THE WONDER YEARS! Never-seen FF wraparound cover, interview between FF inkers JOE SINNOTT and DICK AYERS, rare LEE & KIRBY interview, comparison of a Jack and Stan FF story conference to Stan’s final script and Jack’s penciled pages, MARK EVANIER and other columnists, gallery of KIRBY FF ART, pencils from BLACK PANTHER, SILVER SURFER, & more!

GLEN ORBIK demos how he creates his painted noir paperback and comic covers, ROBERT VALLEY discusses animating “The Beatles: Rock Band” music video and Tron: Uprising, plus Comic Art Bootcamp on “Dramatic Lighting” with MIKE MANLEY and BRET BLEVINS, Crusty Critic JAMAR NICHOLAS reviews art supplies, BOB McCLOUD gives a Rough Critique of a newcomer’s work, and more!

STAR WARS issue, with custom creations from a long time ago and far, far away! JACOB CARPENTER’s Imperial Star Destroyer, MARK KELSO’s Invisible Hand, interview with SIMON MACDONALD about building Star Wars costume props with LEGO elements, history of the LEGO X-Wing, plus our regular features on minifigure customization by JARED BURKS, “You Can Build It” instructions, and more!

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“Tabloids and Treasuries,” spotlighting every all-new tabloid from the 1970s. Superman vs. the Amazing Spider-Man, The Bible, Captain America’s Bicentennial Battles, The Wizard of Oz, even the PAUL DINI/ALEX ROSS World’s Greatest Super-Heroes editions! Commentary and art by ADAMS, GARCIA-LOPEZ, GRELL, KIRBY, KUBERT, MAYER, ROMITA SR., TOTH, and more. Wraparound cover by ALEX ROSS!

“British Invasion” issue! History of Marvel UK, Beatles in comics, DC’s ‘80s British talent pool, V for Vendetta, Excalibur, Marshal Law, Doctor Who, “Pro2Pro” interview with PETER MILLIGAN & BRENDAN McCARTHY, plus BERGER, BOLLAND, DAVIS, GIBBONS, STAN LEE, LLOYD, MOORE, DEZ SKINN, and others. Fold-out triptych cover by RON WILSON and DAVE HUNT of Marvel UK’s rare 1970s “Quadra-Poster”!

“Bronze Age Backup Series”! Green Lantern, Green Arrow, Black Canary, Metamorpho, GOODWIN and SIMONSON’s Manhunter, PASKO and GIFFEN’s Dr. Fate, “Whatever Happened To…?”, Nemesis, Rose and the Thorn, Seven Soldiers of Victory, art and commentary by CARY BURKETT, JOHN CALNAN, DICK GIORDANO, MIKE GRELL, ELLIOT S! MAGGIN, DAN SPIEGLE, cover by GRELL and JOE RUBINSTEIN.

“Bronze Age B-Teams”! Defenders issue-byissue overview, Champions, Guardians of the Galaxy, Inhumans, PETER DAVID’s X-Factor, Teen Titans West, Legion of Substitute Heroes, an all-star chatfest of Doom Patrol interviews, plus art and commentary by ROSS ANDRU, SAL BUSCEMA, KEITH GIFFEN, TONY ISABELLA, PAUL KUPPERBERG, ERIK LARSEN, GEORGE PÉREZ, BOB ROZAKIS, cover by KEVIN NOWLAN.

“Bronze Age Team-Ups”! Marvel Team-Up and Two-in-One, Super-Villain Team-Up, CLAREMONT and SIMONSON’s X-Men/New Teen Titans, DC Comics Presents, SuperTeam Family, HANEY and APARO’s Batman of Earth-B(&B), Superman/Captain Marvel smackdowns, plus art and commentary by BUCKLER, ENGLEHART, GARCÍA-LÓPEZ, GIFFEN, LEVITZ, WEIN, and a classic GIL KANE cover inked anew by TERRY AUSTIN.

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MARVEL ISSUE on Captain America and Fantastic Four! MARTIN GOODMAN’s Broadway debut, speculations about FF #1, history of the MMMS, interview with Golden Age writer/artist DON RICO, art by KIRBY, AVISON, SHORES, ROMITA, SEVERIN, TUSKA, ALLEN BELLMAN, and others! Plus FCA, MR. MONSTER and BILL SCHELLY! Cover by BELLMAN and MITCH BREITWEISER!

3-D COMICS OF THE 1950S! In-depth feature by RAY (3-D) ZONE, actual red and green 1950s 3-D art (get out those glasses!) by SIMON & KIRBY, KUBERT, MESKIN, POWELL, MAURER, NOSTRAND, SWAN, BORING, SCHWARTZ, MOONEY, SHORES, TUSKA and many others! Plus FCA, Mr. Monster’s Comic Crypt, BILL SCHELLY, and more! Cover by JOE SIMON and JACK KIRBY!

JOE KUBERT TRIBUTE! Four Kubert interviews, art by RUSS HEATH, NEAL ADAMS, MURPHY ANDERSON, SHELDON MOLDOFF, IRV NOVICK, and others, MR. MONSTER’S COMIC CRYPT, BILL SCHELLY’s Comic Fandom Archive, FCA’s Captain Video conclusion by GEORGE EVANS that inspired Avengers foe Ultron, cover by KUBERT, with a portrait by DANIEL JAMES COX!

GOLDEN AGE ARTISTS L.B. COLE AND JAY DISBROW! DISBROW’s memoir of COLE and his work on CAT-MAN, art by BOB FUJITANI, CHARLES QUINLAN, IRWIN HASEN, FCA (Fawcett Collector’s of America) on the two-media career of Captain Video, MICHAEL T. GILBERT in Mr. Monster’s Comic Crypt, BILL SCHELLY on comics fandom history, Cat-Man cover by L.B. COLE!

AVENGERS 50th ANNIVERSARY! WILL MURRAY on the group’s behind-thescenes origin, ROY THOMAS on writing the Avengers, STAN LEE, JACK KIRBY, THE BROTHERS BUSCEMA, TUSKA, ADAMS, COLAN, BUCKLER, ENGLEHART, MERRY MARVEL MARCHING SOCIETY, MR. MONSTER, BILL SCHELLY, FCA, Golden Age Blue Beetle artist E.C. STONER, unused Avengers cover by DON HECK!

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CELEBRATE 1980s COMICS HISTORY!

AMERICAN COMIC BOOK CHRONICLES: THE

TwoMorrows Publishing continues its ambitious series of FULL-COLOR HARDCOVERS, documenting every decade of comic book history from the 1940s to today!

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1980s

KEITH DALLAS headlines the latest volume, covering all the pivotal moments and behind-the-scenes details of comics during the 1980s! You’ll get a year-by-year account of the most significant publications, notable creators, and impactful trends, including: The rise and fall of JIM SHOOTER at Marvel Comics! The ascendancy of FRANK MILLER as a comic book superstar with works like DAREDEVIL, RONIN and THE DARK KNIGHT! DC Comics’ reboot with CRISIS ON INFINITE EARTHS and its Renaissance with a British invasion of talent like ALAN MOORE, GRANT MORRISON, and NEIL GAIMAN! The emergence of Direct Market-exclusive publishers like ECLIPSE COMICS, PACIFIC COMICS, FIRST COMICS, COMICO, DARK HORSE COMICS and others! Taken together, the American Comic Book Chronicles series forms a cohesive, linear overview of the entire landscape of comics history, sure to be an invaluable resource for ANY comic book enthusiast! (288-page FULL-COLOR HARDCOVER) $41.95 • (Digital Edition) $12.95 • ISBN: 9781605490465 • SHIPS IN FEBRUARY

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Compiles the finest features from the preeminent magazine on horror comics history, along with never-seen material!

The co-founder of Filmation Studios tells all about leading the last American animation company through thirty years of innovation and fun!

MATT BAKER: The Art of Glamour

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