Jason Fabok's 10 Favorite "Justice League" Moments
On Tuesday, Comic Book Resources interviewed Superman writer Geoff Johns, penciler John Romita Jr. and inker Klaus Janson, who (as the headline put it) want to “inject optimism” into the series. As part of that interview, Johns contended that the Man of Steel’s desire to connect with his fellow Earthlings makes him “more relevant now than ever.”
Considering a couple of ongoing storylines, this current focus on positivity sounds like a voice crying in the wilderness. Today we’ll look at the end of Earth 2’s “The Kryptonian” — which features two alternate Supermen — as well as the latest installments of “Doomed” in the regular Super-books.
Naturally, SPOILERS FOLLOW for Earth 2 #26, Superman/Wonder Woman Annual #1, Action Comics Annual #3 and Action Comics #34.
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I had taken a break from comics during the whole “Death of Superman”/”Reign of the Supermen” era, yet I’m a little excited by this mysterious cover unveiled today by Sean Murphy (The Wake, Punk Rock Jesus). Even those readers who weren’t around for the early-’90s storyline will undoubtedly recognize the Man of Steel/John Henry Irons/Steel, the Man of Tomorrow/Cyborg Superman, the Last Son of Krypton/Eradicator and the Metropolis Kid/Superboy, who arrived in Metropolis claiming to be Superman.
Murphy says he doesn’t know what the cover is for, but it’s a pretty safe bet that it’s part of DC Comics’ “Superman: Doomed” crossover, depicting the first major conflict in the New 52 between the Man of Steel and Doomsday, who was responsible for “The Death of Superman” 22 years ago.
Update: As a helpful commenter below points out, PreviewsWorld states Murphy’s cover is the 75th anniversary variant for Superman Unchained #6, due out on March 19.
Summer is officially over, so this is a little late, but I’ve been meaning to talk about a certain arc from the summer of 1993. It was the height of the speculator bubble, when everything came with cover enhancements, trading cards, unfortunate hairstyles and/or superfluous pouches.
For many DC Comics readers, 20 years ago was also the summer of “Reign of the Supermen!” That’s not necessarily enthusiasm — the exclamation point was part of the title, which in turn was inspired by Jerry Siegel and Joe Shuster’s early proto-supervillain story, “The Reign of the Superman.” The third (and by far the longest) chapter of the “Death of Superman” saga began with teasers at the back of Adventures of Superman #500, published around April 15,* and ended with Superman Vol. 2 #82, published around Aug. 26.** Those four and a half months may not seem like much, but they saw 20 issues of the four regular Superman books (including Action Comics and Superman: The Man of Steel) spread over 20 weeks. In fact, “Reign” was front-loaded, with all four titles marking the official start of the arc on April 29 or so, two weeks after Adventures #500. That meant there were some weeks without a new installment, and those were sometimes hard to take.
“Reign of the Supermen!” is not the greatest Superman story ever memorialized in print. On one level it is very much a product of its era. However, for the Superman books, that era was energized not just by the efforts of their creative teams, but by the overarching framework the books had developed. While “Reign” wasn’t the only big DC event of the summer — for one thing, the debut of DC’s imprint Milestone Media has much more historical significance — it’s a reminder of the ebbs and flows of serial superhero storytelling, and it remains instructive today.
Warning: This is a very long post, because I think there’s a lot of background to be explored.
There’s so much I find fascinating about Vaneta Rogers’s Newsarama interview with Steel #1 writer Steve Lyons that I hardly know where to begin. I suppose I’ll start by saying that there’s a lot to be excited about in the comic, which kicks off DC’s “Reign of Doomsday” event. For example, I’ve long argued that Steel is one of the most undervalued characters and designs in DC’s pantheon. Iron Man’s powers, Thor’s hammer, Superman’s cape, and an African-American folk hero’s name? That’s pure gold. And seriously, what a great design: The Alex Garner cover to the issue — itself part of DC’s genuinely awesome iconic-cover line-up for the month of January — is practically payoff enough. Plus, in a genre often (and accurately) decried for its lack of strong non-white heroes, John Henry Irons is an armor-clad, hammer-wielding, ‘S’-shield-wearing super-genius whose role in Metropolis’s scientific and business community is basically “the anti-Lex.” Tough to top that.
Similarly, at nearly two decades’ remove from the controversial “Death of Superman” storyline, I’m much better able to appreciate Doomsday him/itself. He’s no longer just the out-of-the-blue newcomer who got to deliver the coup de grace to the Man of Steel over more “deserving” villains like Lex Luthor (and set sales records in the process). Rather, he is to the villainous side of the superhero genre what the Hulk is to its heroic half: The power fantasy in its purest form, i.e. giant unstoppable guy pounds the crap out of everyone in his way. On an inner-eight-year-old level, that’s a thing of beauty. And remember how in his original appearances he slowly shedded a Kirbyesque jumpsuit-and-goggles look to reveal badass bone spikes and claws jutting out of every possible place on his body? He’s basically a microcosm of the direction of the entire superhero genre from that period, a walking symbol of ’90s excess at its boldest and best. Finally, in story terms, he accomplished the pinnacle achievement for any DCU villain: He killed Superman! Okay, so he got better, but still. As I believe Geoff Johns has argued, Doomsday’s name alone should scare the crap out of every character in the DC Universe. As such he’s a terrific basis for a crossover event.