Enter Bizarro - Dueling Pencils (and Plotlines)

Superboy #68 (October 1958)
"The Boy of Steel Versus the Thing of Steel"
Otto Binder-George Papp

The Man of Steel #5 (December 1986)

"The Mirror, Crack'd"

John Byrne-Byrne/Dick Giordano

Doug: Yup -- half a century old, am I. I know I'm joining a club populated by many of our Bronze Age Babies, and I trust you'll treat me kindly in this land of AARP. Now if I could only remember what issue I'm supposed to review today...

Funny that I'm joking about being forgetful; well, maybe it's not even forgetful. I think it was William many a'moon ago (when we solicited ideas for posts) who queried what we had collected on our shelves but had never read. I can attest to owning The Greatest Superman Stories Ever Told, but have not read all of the tales contained therein -- and quite honestly have not cracked the book in perhaps 20 years. Figuring it had been awhile since I reviewed a Superman yarn (I've been really heavy on the Bat-side of DC lately, but that's the lion's share of what I have from those folks), I thought I'd check the table of contents of the "Greatest" trade. Now I've remarked several times that I've always been a Superboy guy, never Superman (well, not never). So when I saw Superboy #68 sitting there, and it was the 1st appearance of Bizarro to boot, I knew I was going to review it. But after I read it, I was like "Hey, wait a minute..." So I dug up our BAB review of Man of Steel #5, and darned if Anonymous (one of the most common baby names of the mid-60s) didn't comment:

Anonymous said...

Two things:
(1) at the time of the miniseries, Byrne stated that the purpose of the Bizarro story was to show Superman's first encounter with a super powered foe;
(2) the blindness thing is a call back to the first Bizarro story - where something similar happened. Bizarro died - and when he blew up, he cured a blind person (though I don't think it was Lucy Lane).

So there you have it -- cart planted squarely in front of horse. But you know that's not fair, so howzabout we take a look at these two stories, told almost 30 years apart, and see how similar they are? For those keeping score at home, I am going to blend in thoughts about Man of Steel #5 from mine and Karen's original review of that  publication.

The Creations: In Superboy #68, our young Kryptonian has visited a Professor Dalton, who is about to conduct a very important experiment. Dalton thinks he has invented a "Duplicator Ray" that will be able to exactly reproduce any material. His first attempt is on radium -- because after all, the 1950s was all about radioactivity. The radium that's created is a dud -- no radiation whatsoever. Dalton then turns his ray on a jewel, but it proceeds to melt like ice. Frustrated, he declares himself a failure. Ever empathetic, all Superboy can utter is, "Too bad, Professor! Well, I'll be on my way!" (at this point, please do yourself a favor and head on over to superdickery.com for more bad manners (and etc.) from Superboy, Superman, and a host of other comics bores). You know, it would serve Superboy right if that ray got turned on him and made an indestructible duplicate of him. Yeah -- that would fix smart-mouthed Superboy! And so it happened. But the duplicate, who we are repeatedly assured is some form of non-life (nevermind that it feels, thinks, has emotions, et al.), is soon out of the lab and on the loose and heading straight for mischief.

Skip ahead approximately 30 years and...

Lex enters a large laboratory where a Dr. Teng, dissident Chinese scientist, labors over a large sarcophagus. We learn that Luthor had his offices layered with cameras and untold diagnostic equipment that captured every iota of information about Superman while he was on the premises. The doctor then used that data to program his technology to create an exact duplicate of the Man of Steel. One problem, however: The equipment was infallible for any sort of terran lifeform. It's at this moment that Lex deduces that Superman could very likely be an alien. The professor unveils his creation, cautioning Luthor that it has been a failure. The sarcophagus is opened and out steps an entranced doppelganger of Superman... who then immediately collapses on the floor, and begins to crystallize. Luthor, enraged, grabs his hired hand and offers that he truly hopes he has not wasted his $100 million investment.  But just as quickly, he orders the creature removed -- Luthor is going home to Metropolis.

Close Encounters of the Bizarro Kind: Bizarro, being duplicated from Superboy, is somewhat aware of Superboy's life and surroundings. As such, he shows up at the Kents', the Kents' neighbors' home, and in various places around Smallville. Overall, he scares people. He is one goofy-looking dude. But there's a real innocence about him, child-like. He wants to fit in, and most of all to be loved. But everyone seems afraid of him and often runs the other way. As Bizarro sits alone on the curb crying, he's approached by a pretty teenaged girl who asks him what's wrong. She tells him that he seems kindly enough, a gentle soul. Bizarro is about to bust, and he flies away to tell a farm family who had humored him earlier. And then we learn that the girl is blind.

In the John Byrne version...

In Metropolis, we get to see Lois Lane's apartment and meet her sister Lucy. We learn immediately that some sort of tragic accident has recently befallen Lucy and her sight has been lost. Lois tries to encourage her, but Lucy is obviously depressed. Byrne depicts the sullen Lucy seated alone, head in hand. Cut away to the streets, where an ambulance careens out of control. A blown tire brings the vehicle to an abrupt stop, but since it is carrying a patient the situation is even more dire. Suddenly a familiar pair of red boots lands and hoists the vehicle.  It is very soon spirited to the closest hospital. As the crew emerges to thank Superman, a look of surprised horror crosses their faces. We see the Man of Steel's foggy reflection in the ambulance window, but cannot make out what must have spooked the EMTs.

Back at Lois' highrise, Lucy has moved onto the balcony and is poised to leap. She asks to herself that Lois forgive her, and pushes away. She doesn't fall far before blue-clothed arms reach out and scoop her away from her desired death. Taken back to the balcony, she's gently set down. She asks if her benefactor is Superman, but he says nothing. She feels him fly away, and is puzzled as to why he wouldn't speak. Cut away then to the Daily Planet, where Lois has arrived to work. After some banter, Jimmy (still sportin' that bowtie) asks if anyone has heard about the break-in at a men's store next door. Seems the perp busted thousands of dollars of plate glass to swipe a $100 suit, and left alone a jewelry store right next door! Clark uses his telescopic vision to peer down into the lobby and notices an odd duck wearing a sport coat over what looks to be a red cape. In a really nifty panel, Byrne gives us the first Superman quick-change and the Man of Steel emerges in the lobby to question this weirdo. Trouble is, when the guy turns around, he's an ashen duplicate of -- Superman! 

Attempted Destruction: Wow - the 1950s must have been pretty reckless. Superboy tries to subdue Bizarro by flying into space in a leaden suit of armor to retrieve a Kryptonite asteroid which he uses in an attempt to murder Bizarro (unless you believe that the creature was inanimate, as is continually suggested). When that fails, actually afflicting Superboy due to a counter-attack by Bizarro, the Teen of Steel asks his army buddies to bring out the conventional weapons. Seriously -- tanks, mortar shells, flamethrowers, you name it. With no positive results, Superboy suggests he be allowed to drop an A-bomb on Bizarro. You read that right. Remember in Kingdom Come when Kansas was obliterated? Superboy drops an atomic bomb on his doppelganger, who catches it and hurls it to the moon.  I'm not making this up. With nowhere else to turn, Superboy engages Bizarro directly.

But in Metropolis...

(Continued from above) The new guy on the block doesn't talk much, but he does pack a wallop! Superman is sent reeling out of the building, landing in the middle of a city bus. He urges the passengers to stay put and heads back out to confront his assailant. We get a good look at the guy, who is fully garbed in a navy blue (not royal blue) Superman suit and what looks to be Clark Kent's wardrobe! Superman soon finds that this imposter possesses all of his powers, including his vast strength. When Lois comes on the scene, Superman decides it would be beneficial to rid his enemy of the civvies. As Superman takes a shot, Lois comes closer -- close enough that she draws the creature's attention. He grasps her wrist and flies her away.

Lois decides that she'll try to talk to the "guy". But when she does, he turns his full attention to her, and kisses her! In a nice piece of writing, Byrne has Lois think, "I don't believe it! Five years I've been dreaming of being kissed by Superman..." Anyway, the creature lands on the same balcony to which he'd deposited Lucy earlier in the story. She is still outside, and can see Lois and "Superman" approaching! Lucy approaches the doppelganger, but as she moves to touch his face, the real Superman arrives. He tries to move the ladies to safety, but is pummeled by his duplicate. They engage, and Superman is hurled straight down into the street. He notices that some sort of powder has rubbed off on his fist and sleeve. Looking at it with his telescopic vision, he notes that it is inorganic -- the creature isn't alive. "Our ugly friend is some kind of android -- an artificial being -- just one step ahead of a robot!"

 
Endgame: Spent for suggestions, Superboy heads back to Smallville to see if there isn't something he can think of that he can use to get rid of Bizarro. The creature follows him back to town, but as Bizarro arrives he falls from the sky -- as if under the influence of Kryptonite. But having exhausted that as an option, Superboy races to find the substance that has affected Bizarro. Flying by Professor Dalton's lab, he sees a custodian emptying the remnants of Dalton's Duplicator Ray machine and notices that the parts emit a glow... hazardous waste? Pfah! Grabbing a huge piece, Superboy threatens to end Bizarro's existence; although Bizarro retorts and uses the word "kill". Bizarro, in typical Bizarro fashion, flies directly at the Teen of Steel.

In the Post-Crisis Superman revamp...
 
Superman rockets upward as the creature turns toward him. Suddenly it launches downward and the two meteors strike head on. Superman emerges apparently no worse for the wear, but the creature is nowhere to be found.

Eyesight to the Blind: As Bizarro impacted Superboy's metal plate, he exploded into dust particles. A distance away, Melissa felt the impact and was awash in waves of the dust particles. Suddenly her eyesight returned!

 And finally, in 1986...

Bizarro exploded into a huge cloud of dust and crystal particles. And it's those particles that apparently cured Lucy's blindness. Superman is complimented for taking the action that cured Lucy; however, the Man of Steel muses that he really didn't know it would work out that way... but the creature must have.

I feel the need to offer some additional thoughts on Superboy #68, as this comparative post will serve as the review of the story. It was certainly one of those Silver Age books that, with the right mindset, could be enjoyable. I'm sad to say, however, that my mind might not have been exactly positioned in that manner. The basics of the story were fine -- plot, art, etc. But oh the dialogue... I was reminded early and often why as a kid I loathed Superman comics. Generally speaking, Superboy comics tended to avoid the following, but all are in full use here: telescopic vision, super-strength, super-breath, heat vision, super-wits, super-hearing, super-force, super-ventriloquism, super-blows, super-judo... as well as super-vibration, super-impact, and super-inspiration. Whew! Otto Binder actually used every one of those terms in a 24-page story. And it wore me out.

I enjoyed the art, but again through the lens of the Silver Age. I don't know how much George Papp art I've ever seen, but this was pleasing to the eye and appropriate to the subject matter. Papp's art fit in with the "aw, shucks!" sense I get from stories of this vintage.

If you made the jump above to our Man of Steel review, you saw Karen and I comment on John Byrne's attitude toward Bizarro and how it seemed to preface what he'd do to the Vision a few years hence in the pages of West Coast Avengers. I felt in Byrne's treatment, and especially in Binder's script, that Bizarro was too easily discarded as some form of non-life. You ask me, the dude was alive. Also, and in closing because I've taken enough time out of your day, I'd add that Binder's scientific explanations throughout the Superboy tale are at once charming and "say what?!", but most of all pretty dumb.

But I'd read that story again -- it was addictive in a "why am I eating this" sort of way.

Who's the Best... Super-Villain in the Bronze Age? + Civil War Trailer #2!

Doug: I am going to request that today's answers be supported with some rationale based on dastardly doings that fell within our generally accepted parameters of 1970-85 (if you're new, we've had this dates conversation several times). For example, ol' Norman Osborn's Green Goblin could be at the top of someone's list because he killed Spidey's love, Gwen Stacy. That's pretty awful, hence it could surely qualify GG on a heinous "best" list. So give us some additional fodder for consideration after you make your nomination. Oh, and just because a particular devilish plan was thwarted should not keep us from talking about the intent of the do-badder.

Thanks!

Doug: And of course by now everyone (say it isn't so if you have not!!) has seen the second Captain America: Civil War trailer. It is a feast -- I am really excited for this flick! And, how about the reference in the clip to the cover featured below? How cool is that?

Guest Post - Let's Play Ball! DC Super-Stars 10

Doug: Happy Monday, friends. If you're fortunate enough to have Easter Monday off work, congratulations and enjoy! If you have your nose to the grindstone as usual, well then -- you have our pity! If you're coming by to catch the finale of Karen's and my thoughts on Marvels, we apologize. Travel, real life, the NCAA tournament... all those things conspired to push us back a week. But rest assured that you're in good hands today, as our buddy Mike W. is going to shepherd us through a very timely story. It's the beginning of baseball season here in the States, and Mike has a comic book oddity to spring upon you. So kick back for a few moments and enjoy!

DC Super-Stars #10 (December 1976)

"The Great Super-Star Game!"

Bob Rozakis-Dick Dillin/Frank McLaughlin

M.S. Wilson: Okay, this review is a little different ... not really weird, but a little off the beaten path. The comic in question is DC Super-Stars #10, written by Bob “Babe” Rozakis, with art by Dick “Duke” Dillin and Frank “Catfish” McLaughlin. As you can probably guess from those nicknames, the story is about baseball. (My apologies to any non-North Americans who find baseball either boring or incomprehensible; I’ll try to find a comic about cricket or rugby sometime, just to even things up.) I was a big baseball fan as a kid, so I’ve always had a soft spot for this story, though I lost interest in the game a long time ago. I first read this story as a reprint in DC Special Blue Ribbon Digest #13 from 1981 (titled "Strange Sports Stories", and believe me, it lives up to the name), but I recently got my hands on the original comic. There’s no difference in the story, but the original has the actual boxscore and an inning-by-inning description of the game, and I’m enough of a nerd to want that extra information. I know other blogs have covered this comic, but hopefully I’ll be able to bring a fresh perspective to it. So, without further ado... Let’s play ball!

We start out in suburbia, with a typical (?) couple, Sportsmaster and Huntress. This isn’t the Helena Wayne Huntress, this is the original one, a villainess who’s married to another bad guy, the Sportsmaster. It’s a little weird to see super-villains living in the ’burbs (their house is a very modern looking A-Frame). What I find even more strange is that they’re wearing their costumes around the house; you’d think they’d be a bit more casual at home. Anyway, they’re fighting, which married people sometimes do, but this fight is about something a little surprising: Huntress is ready to drop the villain biz and become a crimefighter! Sportsmaster is opposed to this, of course, but Huntress says it’s simple logic ... villains always lose, so why not switch to the winning side? Finally, (after destroying their nicely-furnished living room) Sportsmaster proposes a contest: Huntress will gather a team of heroes, Sportsmaster a team of villains, and the two sides will play a baseball game. If the good guys win, Huntress becomes a crimefighter; if the bad guys win, she stays a villainess. She agrees, and they start putting their teams together.

They start a week later in Gotham, at a bowling tournament. (In fact, all of their “recruiting” is done at various sporting events, a detail I didn’t notice the first time I read this story.) I’m also not sure about the whole setting ... Huntress and Sportsmaster were always Earth-2 villains, as far as I know. But everything here takes place on Earth-1, and all the heroes and villains we see (except Uncle Sam) are from Earth-1; so I’m not sure if Sportsmaster and Huntress were living on Earth 1, or maybe just travelled there to have the game? Anyway, the bowling tournament is giving away $250,000 (in cash!), so of course Joker and Matter Master show up to steal the money. Matter Master gives the bowlers a taste of their own medicine when he uses his magic wand to make the pins attack people. Luckily, Bruce Wayne, Oliver Queen, and Dinah Lance are on hand (Bruce put up the cash prize and Ollie did the PR), so they do a quick change and attack the villains. The good guys seem to be winning handily, when they’re spirited away by some kind of teleporter machine. It’s weird that Sportsmaster and Huntress have this kind of technology; where did they get it (especially if they’re not even on “their” Earth)? And if villains have access to such a powerful device, why aren’t they using it all the time? Seriously, they have a monitor that can apparently tune in on any location they want, and they have the technology to grab people remotely and teleport them away. It reminds me of the Tantalus Field from the Star Trek episode “Mirror, Mirror”; that kind of tech should make them almost invincible. Maybe we can assume the machine was one-of-a-kind and the superheroes destroyed it at the end of the story?

Their next grab is in Metropolis, where they net Superman (playing tennis against himself at super-speed ... show-off), along with Lex Luthor and Amazo, who’s much more articulate than I remember him. Next, we go to a United Nations soccer match, with a solid platinum trophy as the prize (Is it any wonder there’s so much crime in the DCU, when they’re giving away $250,000 cash prizes and platinum trophies all the time?). Wonder Woman is at the soccer match, and it’s a good thing because Weather Wizard and Chronos show up to steal the platinum prize. Wonder Woman seems outnumbered (although she really should be able to wipe the floor with these guys in her sleep), but Plastic Man has been masquerading as her lasso, so he helps her against the villains. I can’t help wondering how long Plas has been disguised as Diana’s lasso ... knowing him, probably at least since she got dressed that morning. Before much can happen, the heroes and villains are spirited away. Next we see a horse race between the top two horses in the country, but instead of regular jockeys the horses are being ridden by Tattooed Man and Dr. Polaris, and chased by Kid Flash and Robin (with Kid Flash acting as Robin’s “steed”). I guess Tattooed Man and Dr. Polaris are trying to steal the horses, since they’re said to be the best in the country. The horses are named “Bold Force” and “Foolish Pride”, which I assume refers to real-life horses “Bold Forbes” (1976 winner of the Kentucky Derby and the Belmont) and “Foolish Pleasure” (who won the 1975 Kentucky Derby). Before the villains can ride their stolen horses to a clean getaway, their mounts are stolen out from under them by Felix Faust. And just to top things off, Uncle Sam shows up and the whole lot of them are zapped away by Huntress and Sportsmaster.

Sportsmaster and Huntress explain the contest to everyone (and the villains seem very confident they can win without their powers... the arrogance of evil, I guess?). The heroes are reluctant to play along, but Huntress says she’s somehow hypnotized (“I cast Mass Charm!”) 66,000 people and brought them to a baseball stadium in upstate New York, and they won’t be released until the game is played all the way through. So Huntress apparently can hypnotize huge crowds of people and turn them into virtual zombies... Between this and the teleporter machine, why isn’t she ruling the world?! Incidentally, the baseball field is called Crandall Stadium; I couldn’t find any real venue in upstate New York by that name, so I’m assuming it’s fictional. I’m wondering if it was named after artist Reed Crandall? He wasn’t doing much (if any) comics work by 1976, but he and Dick Dillin both worked on Blackhawk at various times, so maybe Rozakis named the stadium after him. Or maybe Dillin came up with the name? With the hypnotized people at stake, the heroes have no choice but to play. Since each side has ten players, they each choose an umpire. The heroes choose Uncle Sam because of his unfailing honesty (I’m wondering if that’s the  reason he was included in the first place?) and the villains choose Amazo (“... since he’s an android, he’ll have to call them as he sees them.”). Yes, Luthor, Amazo may be destructive and homicidal, but a liar... never!

The first eight innings of the game are glossed over on one page, which shows a few highlights and the changing score. After eight innings, the score is even, 8-8. The crowd is just staring, like zombies; it would freak me out to play in a stadium where there’s just complete silence... I don’t know how the Cubs stand it! Ohhhh, below the belt I know, but all in fun; as I said, I haven’t paid attention to baseball for years, so I have no idea what kind of team the Cubs have nowadays ... apologies to any Cubs fans out there, I really didn’t mean anything by it. I was going to say “Washington Senators”, but I thought that might date me too much! [Doug: Well, Mr. Smarty-pants, the Cubbies are supposed to have a great team this year and next, with aspirations of breaking their 107-year drought as World Series Champions. This may be the last guest post by M.S., kids! :) ]  Sportsmaster tells the villains to cheat and use their powers; I’m surprised they actually held off for so long! Actually, I’m not sure about the whole “no powers” rule; how does someone like Superman not use his powers? Would he really be able to hold back when he hits the ball? Same goes for Wonder Woman. And what about Kid Flash? If he runs to first base slightly faster than any normal human being could, is he using his powers, or is he just a little faster than everyone else?

Anyway, as the ninth inning starts, the villains come out cheating. Tattooed Man uses a tattoo of a baseball glove (which he conveniently happens to have) to catch a short fly, but he doesn’t catch the glove, so Black Canary goes to first base. Sportsmaster then beans Superman intentionally, sending him to first and Canary to second; why the heck would you deliberately throw a beanball when there’s no outs and a runner on first? And why would you bean Superman, of all people (the ricochet almost takes Sportsmaster’s head off!)? Wonder Woman gets a hit to load the bases. Robin strikes out (Really, Robin? Remember how he used to get knocked out all the time? Robin was the Tonto of superhero comics). Kid Flash sends a ground ball to short and Black Canary is thrown out at home (the villains seem to play better when they don’t cheat), but the bases are still loaded. Batman draws a walk, which brings Superman home (Score: 9-8 for the good guys). Green Arrow slams a double, which scores Wonder Woman and Kid Flash (Score: 11-8 heroes), but Arrow is tagged out when Felix Faust uses his magic to transport the ball from the outfield into his hand.

Now it’s do or die time for the villains. Luthor rigs his bat to give off “vibrations” that keep the ball from ever crossing the plate, and he gets a walk. I’m not sure what sort of vibrations the bat could be giving off that would affect a baseball; plus, the ball’s trajectory is pretty erratic, so you’d think the heroes would’ve known something was up. Weather Wizard hits a single and whips up a blizzard to blind Wonder Woman, but she uses her lasso to redirect the storm into Luthor’s face and he’s put out before reaching second base. Joker bunts and uses his laughing gas to make Green Arrow miss fielding the ball. The first time I read this, I didn’t notice the laughing gas (the way it’s drawn, it’s kind of hard to see) so I thought GA was actually laughing at Joker’s idiotic joke. So now the villains have men on first and second. Chronos hits one to shortstop and slows down time for the heroes while speeding it up for his teammates, thereby breaking every law of physics in the cosmos and sending the multiverse into instant heat death. Seriously, when did Chronos get that kind of power? I know when he was first introduced, the “time” thing was just a gimmick, then later on he actually did gain the power to affect time; but this kind of selective control? He should be one of the most powerful beings in the universe. Anyway, Kid Flash strains his super-speed to the utmost and manages to tag Chronos out before he reaches first. It’s all very heroic, but kind of stupid too; why didn’t Kid Flash (who plays shortstop) just go for the force out at second? It’s a lot closer. For that matter, why not go for the force at first, instead of tagging Chronos? Matter Master is next up, and he gets a fly ball... literally, since he gives the ball wings. Green Arrow shoots it down, but a run scores (Score: 11-9 heroes). I guess there’s nothing in the rule book against giving a ball wings. Sportsmaster gets up and whacks a double, scoring another run (Score: 11-10 heroes). Sportsmaster’s feeling pretty good, but not for long as Plastic Man tags him out. Apparently when Sportsy rounded first, he didn’t actually step on the bag but Plastic Man’s foot (which was shaped like the bag). Sportsmaster protests, but Amazo upholds the play (there’s that honesty again!) and gives Plas quite the compliment: “He tricked you in a grandly villainous manner!” Talk about praise from Caesar.

So, the game ends with the heroes winning 11-10; the zombified people leave and the super-heroes and super-villains pop right back where they came from, leaving Sportsmaster and Huntress still bickering. The villains are all shown being defeated very perfunctorily, in three-quarters of a page. Maybe losing the game took all the fight out of them. I’m not sure what the moral of the story is, since the heroes only won by cheating. Of course, the villains cheated first, so many the moral is “It’s OK to cheat as long as the ther guys do it first”? And we never really see any follow-up on Huntress becoming a crimefighter; her next appearances (along with Sportsmaster) were in All-Star Comics #s 72 and 73, where she was still a villain as far as I know (although I haven’t actually read those comics). So maybe we can just consider this an apocryphal story, or a continuity blip.

 

As I mentioned at the start of this review, the original comic included the boxscore of the game and an inning-by-inning description of the action, which I think is pretty cool. But you might notice some of the plays are questionable, and even downright illogical ... and why so many bunts? Well, I first read this story in a Blue Ribbon Digest devoted to "Strange Sports Stories", and on the inside back cover Bob Rozakis explained how he figured out all the play-by-play stuff throughout the game. His father had taught him a simple game (which he called “Baseball with Cards”) and Rozakis actually played out the whole superhero vs. super-villain game using playing cards. I’ve tried it myself and it’s fun enough, though there seems to be an inordinate number of outs. So that explains why some of the plays don’t make sense... because they were basically random. Of course, I’m sure there was a bit of fudging in places, like when a batter hits a single and the runners advance two bases; that happens quite a bit in real baseball, but there’s no provision for it in the rules for Rozakis’s card game. So we can assume there was a certain amount of improvisation taking place... especially in the ninth inning, since we knew the heroes would win, but couldn’t be sure exactly how.

So that’s my take on this story; it’s a bit weird when you really think about it, but hey, it was the Bronze Age! I love it!

Whatever Happened to the Man of Tomorrow? Action Comics 583

Action Comics #583 (September 1986)(cover by Curt Swan and Murphy Anderson)
"Whatever Happened to the Man of Tomorrow?, part two"
Alan Moore-Curt Swan/Kurt Schaffenberger

Doug: Welcome back to the conclusion of the tale that ended the run of the original Superman. Two weeks ago we reviewed the first installment from Superman #423. Both of us remarked that the art was a bit off -- if you'll recall, that first story in the 2-parter was drawn by Curt Swan with inks by George Perez. While both men are among the greats of the industry (truly of any time throughout the history of the comic book), the combination just seemed odd to us. Today, however, we find Swan on the lead again but this time embellished by veteran Silver Age Superman artist Kurt Schaffenberger. We'll see how we like it. One thing's for sure, and I said this at the top last time: this ain't yer daddy's Superman story!

Karen: Some of our regular readers remarked in the first half of this review on how they felt Moore was perhaps not the best choice to write this final tale of the Silver Age Superman. I think for me, as someone who reveres Superman as the first super-hero but has no special feelings or fondness for the character, it's easier to read through this story, so serious and final, and accept it for what it is.

Doug: Perhaps it's Moore's distance from the character (he'd written Superman only a couple of times prior to this story, I believe) that allows us to stomach this story. Had it been commissioned to Elliott S! Maggin or some other Bronze Age Superman scribe, it most likely would not have turned out this way (for better or for worse). But I feel that those who eschew Moore's superhero work at DC have a point. We've not reviewed The Killing Joke yet, but the outcome of that story for Batgirl has certainly left more than a few Silver and Bronze Age fans with a bad taste in their mouths.

Doug: We open where we began the first part -- at the home of Lois Elliot (nee Lane). As Tim Crane continues the interview, Lois's husband, Jordan, enters. He's a big guy, sort of down-home looking with a speech pattern that matches. Crane remarks to Elliot that he hopes he doesn't mind the interview about Superman. Elliot comes off as a real jerk when he states that Superman wasn't anything special. Lois doesn't flinch, but it seemed really callous. As Elliot leaves the room, Lois picks up the story where she left off -- in the Fortress of Solitude right before the siege began. Superman used his heat vision to melt the giant key, effectively locking him and his friends inside. But outside, the death-dealers began to mass.

Karen: "Jordy" hardly seems like the kind of guy Lois would settle down with, right? I can already tell you, I'm more comfortable with the art in this issue than in the previous one. It doesn't seem like it's fighting itself, you know what I mean?

Doug: First to arrive to the Fortress were the new Brainiac-Luthor combination with the Kryptonite Man in tow. Brainiac walks Luthor's body boldly off the aircraft, when a time bubble suddenly appears. Disembarking are the Legion of Super-Villains: Cosmic King, Saturn Woman, and Lightning Lord. They have come to see the final fate of the Man of Steel at the hands of his greatest enemy. Of course Brainiac calculates that it must be him for all of his wrongdoing through the years. But the Villains tell Brainiac that Superman's friends will come to his aid; Brainiac heads into his ship to erect an impenetrable forcefield around the Fortress of Solitude. Even just a few pages into this, the ill feeling of death and destruction that had come over me while reading part one was again weighing on me. Alan Moore was crafting a story unlike we'd seen in DC Comics to this point (one could argue that Gerry Conway had done a story of similar magnitude in Amazing Spider-Man #s 121-122).

Karen: You wouldn't think the situation could feel so dire with such classic Silver Age art and characters like the Legion of Super-Villains hanging around. Yet I share your assessment. There's a definite feeling that all of this is very wrong, which of course is what they were going for.

Doug: I think the fact that the LoSV showed up to watch is its own kind of morbidity. So in a throwback to the days when the Great Refuge was encased in a field that kept Johnny from Crystal, we see the Fortress under a huge yellow dome. Using conventional weapons Brainiac had brought on his ship, the villains began to assault the Fortress. Superman fought back from afar with his heat vision and even ventured outside with Krypto to attempt a full engagement. The Kryptonite Man nixed that strategy. Outside the dome the Justice League assembled, but couldn't punch their way through. As evening turned to night, a stalemate was declared. Superman stopped by Perry White's room and sought his counsel. Perry remarked that he'd just been sitting around, thinking about the doom that was coming, and of divorcing his wife Alice. Superman said that he felt that he was going to die soon, and lamented that he'd strung both Lois and Lana along all these years with no intention of fulfilling either relationship. He commented that he'd been a coward.

Karen: Not to break the mood, but why were Batman and Robin just hitting the force field with what looked like sticks? Good grief! I think someone needed to put a little more thought into that one. But onto the meat of this segment: Superman's talk/confession to Perry. It's disturbing to have Superman state that he believes he's going to die. He just keeps clutching that statuette that the Legion gave him and staring at it. It's as if he's staring at his own tombstone, or monument, perhaps. The fact that he recognizes that he's wronged both Lois and Lana all these years throws a different light on the Superman of the Silver Age who seemed to fall for every woman with the initials "L.L." -Lana, Lois, Lori Lemaris, Lyla Lerrol, Luma Lynai! It always seemed so callous of him to let these women pine over him. Perhaps there was more to it?

Doug: It's funny that you mention that scene with Batman and Robin. I got a real Super Friends vibe from that -- very childlike in nature. In regard to Superman and his women, and his ignoring of their love for him, it's a whole new level of Superdickery.

Doug: In another part of the Fortress, Jimmy and Lana ran into each other while exploring. Both were looking for a way to help Superman, and both knew that Superman kept elements of their super-heroic pasts in the Fortress. Jimmy found the Elastic Lad serum, but I was a bit confused (showing my Superman-lore ignorance here) at Lana taking a dip in some sort of super-power enhancing bath. I had expected her to don the Insect Queen garb, but instead she came out dressed in a costume I did not know. Anyway, as part of Lana's powerset, she had all of the powers of Superman, including super-hearing. She was able to hear Supe's confession to Perry, that as a child he had loved Lana, but as an adult he loved Lois with all his heart. He said he'd never tell Lois he loved her, as that would hurt Lana -- and he'd never hurt Lana. So with that forbidden knowledge now her own, Lana led Jimmy outside to attempt to break through the barrier.

Karen: Moore did his homework obviously! I too only knew of Lana's Insect Queen identity, from reading so many Legion comics. Superman's statement about the two loves of his life really made sense, although it does seem cowardly when you come right down to it. He should have let Lana move on. It does however, help to explain what seemed to be a very cruel pattern of behavior by the Man of Steel for many years! Lana's determination to show everyone that "Nobody loved him better than us!" is just crushing.

Doug: Lana and Jimmy take it right to Brainiac and the Legion of Super-Villains. Lana engaged the Kryptonite Man first, but her attention was almost immediately drawn to Brainiac. He boasted of his impending victory, when suddenly Luthor managed to wrest control of his own mind for a brief moment, long enough to tell Lana to kill him. Taken aback, Lana nevertheless struck Luthor on the side of the neck, shattering his spinal column. Luthor's body crumpled to the ground as Jimmy was atop the Brainiac ship, working feverishly to destroy the generator. The Super-Villains had been observing, when Saturn Woman scanned Lana's mind to see who she was and where she'd come from. Quickly deducing that Lana had received her powers from a radioactive bath, Cosmic King used his powers to transmute some of her cells and remove her powers. Lightning Lord stepped forward to "help her up", but instead incinerated her. Lana Lang died a pile of ashes.

Karen: Things really start to get brutal again. Lana quickly and easily dispenses with both Kryptonite Man and Brainiac-Luthor. Luthor's brief plea for death was welcome, but I do sort of wish we'd seen more of Luthor in this story; somehow, it doesn't seem right that he was so marginalized in the "final" Superman story. Lana's incineration is horrific, even though it is not shown in detail.

Doug: You know, in a way I think Moore was giving Luthor the ultimate comeuppance. Let's face it, behind the Batman Luthor was the most arrogant character in the DC Unverse. Of course he would fancy himself "Superman's greatest enemy". Not so fast... And Moore takes him virtually out of the story.

Doug: Jimmy died right after Lana, as Brainiac used all of his resources to raise Luthor's body and fire a blast into Jimmy's back. This scene was pretty disgusting, as Brainiac struggled to keep Luthor's body upright -- Luthor's eyes were rolled back in his head. The Kryptonite Man noticed that the barrier was still intact, in spite of Jimmy's disruption of it. Ignoring that fact, Brainiac ordered a nuclear strike against the Fortress. Blowing a gaping hole in one side, it didn't destroy it. Inside, Perry quickly made amends with his wife. The Kryptonite Man was the first to enter the Fortress, and he did it loudly, ordering Superman to show himself. While he began to search the premises, he was attacked without warning by Krypto. The loyal pet went straight for his enemy's throat, tearing it open. But the close exposure to the radiation and the direct contact with the contaminated blood ended Krypto's life.

Karen: Oh boy. Call me a sap, but seeing Krytpo die really gave me a lump in my throat. Such a loyal companion, a source of much joy and comedy over the years, here becomes a fierce protector. His final death howl had me holding back a tear. And yes, I know Jimmy died too!

Doug: I loved the scene with Krypto. And Moore played that straight, choosing not to include the other Super-Pets. Kara's mention of Streaky in part one seemed enough. In another part of the Fortress, Superman flew with Lois, looking for refuge as well as for the others. They flew through a trophy room, where we saw destroyed images of Lori Lemaris and of Titano the Super-Ape (because everything's better with gorillas -- never forget that). The Legion of Super-Villains have entered the Fortress and gloat over Lana's death. Superman did not know that had happened, and goes berserk. His heat vision burns Lightning Lord's arm, and Saturn Woman warns that the Kryptonian intends to kill. They flee immediately, board their time bubble, and make tracks back to the 30th century. Superman (oddly still carrying the statuette given to him by Brainiac-5) and Lois fly outside to find Luthor. His body has fully quit on Brainiac, and with that their symbiosis is ended. Brainiac disengages from Luthor's skull, and despite his last threats also dies. Pete Ross, Lana Lang, Jimmy Olsen, Lex Luthor, the Kryptonite Man, Bizarro, Krypto, Metallo, Supergirl (in the Crisis), and now Brainiac... all dead. Lois remarked to Tim Crane that it was over. Except for the fact that they couldn't figure out why all this had happened in the first place, and why the force shield was still in place.

Karen: How times change. Whereas it is now common place to have Superman turn his heat vision on foes, this Superman would never do such a thing -until now. The shock and fear on Lightning Lord's face gets across the point that things have changed. Yet -Superman does not kill them.

Doug: Superman thought for several minutes, going back over the chain of events. He had an a-ha moment, and called aloud for Mr. Mxyzptlk to appear. And sure enough -- vwoomf! He appeared, floating in the air. He told Superman that he was bored, that as an immortal life needs to be changed up every couple of thousand years. After a do-nothing phase, followed by an altruistic phase, Mxyzptlk figured he'd try his hand at general orneriness. That had ended, and beginning with Superman's death, he was going to try evil for a while. In another of the Silver Age tropes blown apart by Moore's script, Mxyzptlk says as he shows his true form: "Did you honestly believe a fifth-dimensional sorcerer would resemble a funny little man in a derby hat?" Superman fled with Lois -- after all, Mxyzptlk's magic could not be defeated.

Karen: In retrospect, it might seem obvious -make one of Superman's goofiest villains into his most dangerous -but at the time, it was truly a "wow" moment. Given the imp's powers, he certainly could hold that position. I liked the way Mxyzptlk's true form was shown. More of an energy being than anything else. It's the whole 'Wizard of Oz' theme all over again.

Doug: In the crescendo of the story, Mxyzptlk pursued Superman and Lois throughout the Fortress, finally catching them. Superman told Lois to run, figuring that this was his end. But she looked in her hands at the statuette that she still held -- and in the clutches of the figure of Superman, a familiar device. She told him to look at it, and instantly he knew what had to be done. They flew again to another chamber, where Superman picked up the Phantom Zone projector. Pointing it at Mxyzptlk, he told him that it was indeed over. Turning on the projector, Mxyzptlk spoke his own name backwards in an effort to escape back to his fifth dimension; the going-two-places-at-the-same-time effect ripped him in half. Superman's greatest enemy didn't win the day; Superman did. Or did he?

Karen: Those clever 30th century kids! Giving Superman a tribute that was also a clue to how to defeat his greatest enemy! Of course, Lois is the one who figures it out, even though the Man of Steel has been staring at the darn thing for hours. About the Phantom Zone though: so Superman felt it was alright for him to pass judgment on his enemies and imprison them forever in this other dimension, but not to kill them? Some might consider imprisonment even worse than death. 

Doug: The Phantom Zone was sort of DC's version of Marvel's Limbo, wasn't it? I suppose since the Phantom Zone was not under the influence of any sun, the Kryptonians imprisoned would not be immortal. So that they didn't die, can we assume that there was no time in the Phantom Zone? Mon-el never aged... Talk about 20 years-to life!

Doug: Superman killed Mr. Mxyzptlk. But the Man of Tomorrow was crushed, emotionally void. No one, he said, had the right to kill another -- and especially not Superman. He began to walk away from Lois, she pursuing him frantically. He walked to a chamber marked "Gold Kryptonite" and "Keep Out!" Superman turned the handle and entered the chamber, a smile across his lips as he looked back at Lois. She told Tim Crane that she never saw him again, and it was assumed he'd walked out a secret passage in the back of the room only to die of exposure, powerless in the Arctic winds. Around the grounds of the Fortress of Solitude, the JLA picked up the pieces. It had been a blood bath.

Karen: This was Superman as we, children of the Bronze Age, knew him: a god with a conscience, the one person we could trust to always do what's right. Even if it means the end of Superman.

Karen: Just a side comment: who the heck was that guy shown cradling a body (is it Lana? The chest insignia looks like hers) wearing go-go boots, hot pants, and a vest? I think he was shown earlier attacking the force shield. How the heck  does he merit space and not Green Lantern or Aquaman, etc.?

Doug: Search me -- I didn't know that character, either.  I also don't know who the woman is in red and blue with the Superman shield on her cape. Call me dumb, but I'm just not up on the mythos in the era right before the Crisis. So with the interview over, Tim Crane got up to leave the Elliot household. As he packed up, Jordan reemerged with baby Jonathan. He spoke a pleasantry to Crane as the reporter headed down the sidewalk. The door closed, Lois said it was good to be free from the media again -- at least for another decade. Lois and Jordan small-talked, planned for their evening... while baby Jonathan sat on the floor, playing near a bin of coal. And then he set a diamond back into the bin. A diamond...?

Karen: Notice how 'Jordy's' speech pattern changed as soon as the reporter left? That was well done. And Jonathan has a nice spit-curl hanging down on his forehead. Jordan Elliot... Jor El... Jonathan -a name we know from Jonathan Kent. And that little wink by 'Jordy' at the end -it reminded me of the old Superman cartoons in the 60s. I enjoyed this ending, corny as it was.

Doug: So did you feel that Mr. Mxyzptlk was really "Superman's Greatest Foe"? As I finished and was writing the plot synopsis, I couldn't help but wonder if Moore didn't have something else in mind. I guess options for other "greatests" would be Superman himself, maybe even Clark Kent. I also wondered if Superman's moral code could have been considered his greatest adversary. Or was it Lois Lane? As long as she was around and loved Superman, could he ever be complete as a man? Did Superman have to die to fulfill Lois's love for him? In the end, that's where Moore ended up.

Karen: Perhaps Superman's greatest foe was the coming age of grim and gritty comics.How could such a morally upright character survive the times to come? Look at what they've done to him today, in this 'New 52' universe? No, the old Kal-El would be spinning in his Kryptonian tomb. 

Doug: Regardless of what you feel about John Byrne's re-imagining of the Man of Steel mythos, this Moore/Swan two-parter has to be among the best Superman stories of all time. As I've said several times, it's so atypical of a Superman story mood-wise. The body count is high, there's a level of distress unseen prior, and the conclusion is not all that sunny. Yet it's an honest homage to what had gone before over almost 50 years of Superman stories, at times playfully making fun of elements of the backstory, at others breaking our hearts with the relationships between characters that even as casual fans we'd known and maybe even loved. I'm glad to have read this for the first time all these years later, and regretful still that I did not read it when I bought it almost 30 years ago.

Karen: Although there are aspects of the story that seem to playfully poke some fun at the Silver Age past, I too felt that this was a respectful treatment of the classic Superman, a respectful farewell to him and to all of his supporting cast and accouterments. The Superman in this story is pretty much how I still think of him: all-powerful, yet also supremely good. Today most depictions of the Man of Steel seem to forget that second part.

Whatever Happened to the Man of Tomorrow? Superman 423

Superman #423 (September 1986)(cover by Curt Swan and Murphy Anderson)
"Whatever Happened to the Man of Tomorrow?, part one"
Alan Moore-Curt Swan/George Perez

Doug: Well, that was more than I expected! I bought both of the last issues of the original Superman titles off the newsstand ahead of the release of John Byrne's Man of Steel mini-series that would almost completely reimagine the character. But upon doing the re-read out of my copy of the deluxe edition hardcover Superman: Whatever Happened to the Man of Tomorrow? (from which I'll be providing scans for these two reviews) I am quite sure that I never read these almost 30 years ago as new comics! I say that because when I set my eyeballs to doing their thing I was pretty taken aback at the content of both today's issue as well as the climax in Action Comics #583. This wasn't one of yer daddy's Superman yarns!

Karen: I've never been a Superman fan. Never read the title consistently. I picked up the Byrne issues for a while but they never felt right. Most of my exposure to Superman came through other books, like Justice League, or through cartoons or the TV show or films. I liked the character in his purest sense -the all-powerful, benevolent being who chose to do good -but never found him all that interesting to read about. I grabbed these issues off the stands and read them right in the midst of everything changing at DC, what with the Crisis happening. This two-part story made me care about Superman like I never had before -all when it was too late.

Doug: I'll tell you the first thing that took me aback -- the art! Now Curt Swan is as comfortable on Superman as a cozy-yet-worn sweater. But I'd neglected to look at the creator credits as I began reading, and by the time I got to the third page I was grimacing somewhat at the pictures. Something just wasn't right -- and I knew Murphy Anderson had inked the cover. But this definitely wasn't the "Swanderson" team on the inside! Wow -- it was George Perez! Now I'll stand in any line that exists for heaping the highest praises on Perez -- one of the all-time masters. Yet, this really didn't feel right. To be honest, I never did warm to this combination. At times I could really see Swan; at other times Perez. In the middle was some general mish-mashing, and that was troublesome for me. Honestly, in the second installment Kurt Schaffenberger's inks were much more in tune with the "classic" Superman. My two cents.

Karen: I had the same problems with the Perez-inked Swan art. I thought he over-powered Swan. Although I love Perez, I don't think it was a great decision to have him ink Swan. I would rather have seen a more classic look for this tale. Despite not being a Superman fan, when I think of Supes, Swan is the artist I think of. 

Doug: Agreed. And I don't want to take away from Neal Adams, Jose Luis Garcia-Lopez, or any of the other fine Bronze Age artists who worked on the Man of Steel. But Swan's the most easily-identified Superman artist for me.

Karen: And can we also talk about the writer? Does Alan Moore instantly come to mind when one thinks of Superman? Certainly not to me. I'm reading this out of the TPB, and the introduction by Paul Kupperberg says that outgoing long-time Superman editor Julius Schwartz had originally tried to get Superman co-creator Jerry Siegel to come back to write the book. But there were legal problems with that (no surprise). Alan Moore was having breakfast with Schwarz and reportedly grabbed him by the neck and demanded to write the story! Schwarz apparently thought it was a good idea (or was terrified of Moore) and agreed. Of course, Moore was a rising star at the time, so it makes sense from that aspect. But he was also someone who was involved (more than a little!) in breaking down the old vision of super-heroes and constructing the new, darker age -the exact opposite of what the original Superman was. It's an odd selection to my mind. Why not get a writer with a long association with the character, someone who believes in and respects the concepts the character was built upon? But you know what? It works. It works beautifully.

Doug: Didn't Moore jokingly (I hope) say to Julie that if he considered anyone else to write the story, he'd (Moore) kill him!? Julie Schwartz was a very nice man; I can't speak for Alan Moore. But I agree -- Moore did seem to be an odd choice. But, maybe in the midst of all of the rebooting hullabaloo, the marketing department wanted some guaranteed home runs. I guess this would qualify, although the creative combination does strike me as strange.

Doug: So we open at the home of Lois Lane... er, Lois Elliot. Our story is set 10 years after the alleged death of Superman, and the Daily Planet is writing a commemorative story about the woman who knew him best. Lois invites Tim Crane, the reporter assigned to the story, inside. Crane sets up his recording equipment while Lois gets them some coffee. I had to laugh, as this story takes place in 1997 -- to see the art team attempt to come up with some not-so-crazy futuristic features of the Elliot home is humorous. But it doesn't take long to establish the theme for Alan Moore's last Superman story: death.

Karen: The design aspects of the art is the one place you can really see Swan come through. The bizarre domed coffee machine just screams of a 1960s view of 'the future.' Same for the outfits of Lois and the reporter. 

Doug: Lois begins to answer Crane's question about the last years of Superman's life by telling of the deaths or deactivations of Superman's rogues gallery -- gone were Brainiac, the Parasite, Terra-Man... and Luthor hadn't been heard from in quite some time. Things seemed to be looking up in a way, until Superman returned from a space mission to find Bizarro in a frenzy of destruction. In his twisted, imperfect mind, he was destroying the Earth. He had begun by destroying his own homeworld before wreaking havoc on Earth. Superman attempted to reason with his imperfect duplicate, but to no avail. Bizarro exposed himself to blue Kryptonite, which proved fatal. Lois remarked that his rage had gone from genocidal to homicidal to suicidal. Another thorn in Superman's side, gone.

Karen: Bizarro had always been -at least to me -a joke. I recall my uncle had a big 80-page Giant that was all about the Bizzaro world and I must have read that comic several times over, and it was just the craziest, goofiest stuff. Yes, Bizarro was powerful. But he wasn't evil, just wacky. But here, he's a disturbing imperfect copy of Superman -a reminder of all the horrible things the Man of Steel could do if he wasn't the good, decent person we've always known. In his efforts to be the most 'imperfect' version of Superman that he can be, Bizarro has wiped out his world -that charmingly funky square planet populated with all those other weirdos. One of the most silly, innocent parts of the Superman mythos has plunged into a very dark place.

Doug: Crane next asked about the "unmasking" of Clark Kent, and Lois began to speak of it. While on the WGBS news set with Lana Lang, Clark received two packages. The smaller of the two was brought into the studio and opened. Inside were several Superman action figures -- but that seemed alive! They possessed heat vision and immediately set about destroying the set. Several fired at once on Kent, burning his clothes right off his body, revealing the blue and red costume of Superman underneath! Lana gasped, and then remarked that all these years, Clark Kent was Superman! The toys then say what all of us have been thinking -- how could everyone be fooled by a comb over and a pair of glasses? Superman deduces that this is the work of the Toyman and the Prankster, and asks how they got through his secret identity. They tell him to open the other, larger package. Using his body to shield his friends and co-workers, Superman moves toward the box. When he touches the lid, it springs open to reveal a very dead Pete Ross. Ross had been brainwashed (could we potentially read "tortured" into this?) and had given up Clark's ID. Now Ross was dead. Superman picked up the frequency the villains were using to broadcast, and flew at super speed to their headquarters. After a dust-up, they were sent to jail. Can we assume that Superman fought off any urges toward an eye-for-an-eye avenging of his childhood pal?

Karen: "Prankster... Toyman... Do you know what radio waves look like?" When Superman says this, the art team manages to convey the deeply serious tone that's needed here. And the implications -he can see radio waves! - once again lead us back to the era of the god-like Superman, who can do almost anything. His restraint with the two villains who slew his friend is remarkable, but again, this is what we've come to expect from our mysterious benefactor, isn't it? He always does what's right, he never acts out of anger or self-obsession. That's why he belongs to an age that is passing (back in 1986). He's not the Superman who would turn towards a foe, eyes blazing red, and say, "Burn!"

Doug:  What did you think of Moore poking fun at the secret ID trope? On the one hand, I suppose the comment about the glasses and combed hair was a tribute to the trope, but on the other I found it to be Moore speaking sarcastically.

Karen: Agreed. I also thought it was turning a page again on that era -an innocent time when no one was ever really in danger.

Doug: At Pete Ross's funeral, Superman detailed how he'd always feared this could happen. Perry White told him not to fret -- most of his enemies were now dead! But Superman couldn't shake the fact that he had no answer to the question, "what had turned a bunch of bozos into killers?" Lois told Crane that what Superman didn't say but that everyone was thinking was: what if Luthor and Brainiac did somehow come back? Now? Sceneshift to the Arctic, where we catch up with Luthor on a hunt for Brainiac; or at least, what was left of Brainiac. Using some sort of detector, Luthor located his former partner's head. Luthor gloats that he'll at last be able to open up Brainiac's skull and see about the alien technology. Not so fast! Suddenly small pieces of metal fly from Brainiac's skull and begin to adhere to Luthor's head! Before he knows it, Luthor no longer controls his mind or body -- Brainiac is using him as a host! Pledging revenge on Superman, Brainiac controls Luthor's body to begin walking. But to where?

Karen: The one thing I thought odd about this sequence is that they say once his identity was revealed, Superman dropped his Clark Kent side. So here we see Moore subscribing to the notion that Kent is a fiction and Superman is the real identity. I have difficulty with that. He was raised on Earth, by the Kents. I think there's a lot more of Clark in him than Kal-El. The question Superman asks at the funeral is a good one: what is compelling his old foes to act in such violent ways? One is tempted to say that it's simply they feel the new, 'grim and dark' age coming on. But we'll see. The scene with Luthor and Brainiac was almost comical -Luthor always sees himself as in charge. Not this time, pal!

Doug: You raise a question about heroes with dual identities that really stretches across the genre -- is Ben Grimm the Thing first, or Ben Grimm? Is Batman Bruce Wayne, or the Dark Knight? Which is the dominant personality? It's worth considering for most characters.

Doug: Back at Lois Elliot's house, she tells Crane a story of another tragedy that took place just days after the Ross funeral. On a sweltering day thousands of people had gathered outside the Daily Planet building. Suddenly, several of them ripped open their shirts to reveal the insignia of Metallo! The doppelgangers begin to scale the outside of the building, pledging to kill the friends of Clark Kent (see -- there's a whole lot of killing going on or being discussed here!). Jimmy Olsen uses his signal watch to call Superman, and the Man of Steel arrives in time to save a falling Lois. But Supes doesn't head back into the offices to engage this Metallo army. Instead, he flies Lois to the roof and begins to generate static on the column of the giant Daily Planet sculpture. Polarizing the sculpure, Superman uproots it and uses it as a giant magnet to attract the super-baddies; they were successfully rehumanized later.

Karen: There are a couple of things I really enjoyed in this scene, which was almost a throwaway scene, considering the no-name quality of these villains. One, Moore has Lois describe Superman streaking past her as "a violet comet," because he was flying so fast, the reds and blues of his suit blurred together. That's something so minor, yet a detail a person would notice. Two, the way Superman solves the problem, by magnetizing the Daily Planet globe, and as Lois puts it, magnetizing it just enough to attract the attackers but not the cars in the street below, once again demonstrates his intellect and god-like nature. He doesn't have magnetic powers? So what, he'll basically give himself magnetic powers by rubbing the iron rod so fast he makes a magnet. The guy is just incredible. 

Doug: As the Legion will be along shortly in this tale, it's interesting that you mention Superman's problem-solving abilities. I don't recall in any of the Legion of Super-Heroes stories I read as a kid that Brainiac-5 ever deferred to Superboy (I could be wrong). Here, Superman needs no higher-up to fix things -- he has solutions already in mind.

Doug: Superman decided that he needed to take action, with the attacks against him coming closer together and more threatening. He told all of his closest friends and co-workers that he would take them to the Fortress of Solitude, where he could better defend them if it came to that. Perry White's wife, Alice, was included even though she and Perry were on the "outs". Once at the Fortress, everyone began to settle in when Krypto arrived. Lois thought this was strange, as the pooch had been gone for several years. Back in Metropolis, Brainiac had managed to reconstruct his ship and had used it to spirit the Kryptonite Man to the city in search of the Man of Steel. But Superman was far away, getting his guests settled. As he talked to Krypto a bright light suddenly appeared in the room. It was a time bubble from the 30th century bearing Supergirl, Brainiac-5, Invisible Kid, and the three founding members of the Legion of Super-Heroes -- Lightning Lad, Saturn Girl, and Cosmic Boy. I thought it was interesting that they were wearing their Silver Age uniforms rather than the Cockrum/Grell re-designs.

Karen: The Fortress of Solitude and Krypto are more parts of a by-gone time. While the Fortress seemed to magnify Superman's godlike nature, I always felt Krypto bought him down to Earth. Is there anything that humanizes us more than sitting, talking to our dogs? I also noted that the Legion were in older outfits -I assume this meant they were coming from an early point in their history. Or perhaps the simpler explanation is that this is simply how they looked when Curt Swan was drawing the Legion.

Doug: Brainy says to Superman that they felt like dropping in because they thought he could use a friend. Superman thinks that's a little odd, and then has a moment alone with Brainy. Supes sort of lets him have it for bringing Supergirl, as Kara Zor-el had died in the recent Crisis. Poor Kara -- this one asks her cousin if she has grown up to be a pretty Superwoman in 1986; Superman assures her that she's beautiful. I'm telling you, by this point in the story I was about overwhelmed with the morbidity of it all. This was really a pretty tough read! I was no huge Superman fan back in the day; in fact, I've said often how much I loved Superboy yet stayed away from Superman comics. But most of us know the mythos, so to see this gradual culling of the layers of Superman's life was becoming difficult. Brainy turns Superman's chastisement right back on him, asking if Superman knew of something bad that would happen in the future if he would inform the Legionnaires. Superman said "no", so accepted Brainiac-5's gift of a small sculpture of Superboy holding a Phantom Zone projector.

Karen: The scenes with the Legion and Supergirl are just heart-wrenching. Like you, I was not a Superman fan per se but I was a Superboy and the Legion fan, and of course, we'd just had Supergirl tragically die in Crisis on Infinite Earths, so seeing the Legion muddle through what is obviously their final good-bye is hard to take. And they may be young but really? They brought Kara? Poor Clark! No wonder he snaps at Brainy. Brainy's apology isn't too good either. Does he really need to mention "some unavoidable doom awaiting" the Man of Tomorrow?

Doug: As the Legion was preparing to depart, Supergirl asked Superman why she could have materialized in an era in which she existed. Superman tried to brush off the question, saying that the Supergirl of 1986 had gone into the past. Supergirl accepted that, and as Brainy encouraged the team to board the bubble Superman was left with the sense that they'd come to see him for the last time. Lois narrated to Crane that when she woke the next morning, before the siege began, she knew something was wrong -- Superman looked funny. He looked as if he'd been crying.

Karen: That line, and that final shot of Superman alone with Krypto, his head in his hand, well, it was like all  the air had been knocked out of me when I saw it.

Doug: Despite my reservations about the level of violence in this story, I have to say that it was told with integrity to the history. I thought the Legion scene was especially emotional, and I'm sure if I hadn't been a dope and had actually read these two issues when I bought them I'd have been even more moved by Kara's questions. Curt Swan's art was also comfortable as I said at the top, but man -- were there times when it seemed like it was all-Perez and/or all-Swan. I guess you can't lose with that, but it was overall weird. So having read the conclusion, I can tell you that I'm already looking forward to writing that up and my partner's color commentary! We'll be back with that in two weeks!