Comic Book Review: The Superman Chronicles Volume One

Comic Book Review: The Superman Chronicles Volume One by Jerry Siegel and Joe Schuster

While there were several precursors to Superman, he’s generally agreed to be the first full-fledged comic book superhero.  Superhuman abilities, a distinctive costume, and a dual identity, he had them all.   When Superman first appeared in Action Comics #1 in 1938, the readers had not seen anything quite like him before, and the comic book flew off the shelves.

The Superman Chronicles Volume One

However, the fellow who appeared in those early issues wasn’t quite the Superman we’ve come to know after all these years.  The “Chronicles” series of reprints gives us full-color reproductions of the stories in order of publication, starting with the very first, plus the covers of the issues.

Action Comics #1 starts us off right with the classic scene of Superman smashing a car into a rock, which turns out to actually happen in the story.   The feature begins with an abbreviated version of Superman’s origin.  The dying planet that sent a single rocketship to Earth (not yet named Krypton), a passing motorist (not yet identified as the Kents) who takes the infant to an orphanage, his growing powers (strength, speed, leaping, nigh-invulnerability) and his determination to use his powers to help those in need.  Clark Kent’s powers are explained by his physical structure being far more advanced than Earth humans, giving him the proportionate abilities of an ant or grasshopper.

The story itself starts in media res, as Superman carries a murderer to the governor’s mansion.  Leaving her tied up nearby, the Man of Steel forces himself past the governor’s servant, and through a metal door to that worthy’s bedroom.  He produces proof that the woman about to be executed is innocent, and stays right there until the governor pardons her.

The next day, Clark Kent is pleased to see that the Daily Star did not print anything about Superman’s involvement.  But the rumor of a superhuman fellow in a bright costume has already come to notice, and the Star’s city editor puts his rookie reporter Kent on the job of discovering the truth.

Kent learns of a wife-beating in progress, but it’s Superman who appears at the scene and roughs up the abusive husband.  The cad faints, and it’s Clark who greets the police.

Next, it’s time to establish the “mild-mannered” part of Clark Kent’s persona.  Clark convinces fellow reporter Lois Lane to go dancing with him, but she’s showing a distinct lack of enthusiasm.  When Clark backs down far too easily to a hood named Butch who cuts in, Lois is disgusted at his cowardice and leaves the dance hall.

Butch is angered by Lois’ refusal to dance with him, and sets out to abduct her with a few of his criminal friends to teach Lois a lesson.  Naturally, Superman shows up and the cover scene ensues.  The Man of Tomorrow carries Lois home and advises her not to tell anyone.  Sure enough, the next day, no one will believe her wild story.  It will take her a couple of issues to fully process her reaction to Superman.

The Star’s editor has a new assignment for Clark Kent.  South American republic San Monte is having a civil war, and since the home front is getting so dull card games are front-page news (I am now imagining a 1930s version of Yu-Gi-Oh), Kent should go down there and file some war reports.  Oh, pictures would be good too.

Rather than head directly south, Kent first travels to Washington, D.C.  He spots a Senator Barrows being furtively contacted by lobbyist Alex Greer, who’s known to be connected to “dark money” but no one knows whose.  Eavesdropping on their next meeting, Superman learns that the bill Senator Barrows is pushing is designed to entangle America in European affairs.   (We never come back to this plot point.)

Afterward, Superman approaches Greer to find out who his backer is.  Naturally the lobbyist declines to state this information, so Superman picks the man up and starts leaping all over town with him.  He even finds time to impart a science fact about birds and power lines!   His last leap doesn’t quite make it to the next building, and the men begin to fall….

All that in thirteen pages!

Action Comics #2 does not have Superman on the cover; he would not make it back until #7, and thereafter would usually be mentioned in a text box even if the cover was of someone else.

The story picks up where #1 left off, with Superman and Greer landing on the sidewalk.  They survive, the sidewalk doesn’t.   Greer spills the beans on his boss, international arms dealer Emil Norvell.  Superman then uses his considerable persuasive powers to make sure that Norvell travels to San Monte and enlists in their army.

Lois is assigned to go along with Clark Kent to South America.  Lots of things happen, including Norvell learning what it’s like to be on the pointy edge of his munitions, Lois nearly being shot as a spy, Superman just straight up killing a torturer (oh sure, we don’t see him land, but being tossed several miles away?  He’s not going to have a soft landing) and the Man of Steel finding a creative way to stop the war.

The story is followed by an advertisement for the daily Superman comic strip, soon to come out.

#3 has Superman get a neglectful mine owner to improve safety conditions for workers.  (Some ethnic slurs by baddies.)    There’s also an announcement of the first Superman fan club, the Supermen of America.

#4 is Superman kidnapping a college football player for several days to impersonate him in order to prevent a game from being fixed.  As a side effect, it also improves Tommy’s love life.

#5 has Lois Lane get enraged by the editor’s sexism (“no job for a girl”) and trick Clark Kent into pursuing a fake story while she goes off to cover a bursting dam.  Superman saves Lois a couple of times and she admits her feelings for him while still despising Clark.

#6 is the first Superman impersonator story.  A crook dresses his henchman up in a Superman suit and has him do faked stunts of superstrength so that the crook can claim he’s got a legal license to sell Superman merchandise.  Lois easily sees through the fake, but still needs rescuing.  Also has the first Superman-themed song.

#7 has Superman join a failing circus to give it an attendance boost, and reveal the criminals that are trying to take it over.  This is a good spot to mention that Superman’s distinctive costume was partially based on a circus strongman outfit, including trunks worn over tights to keep certain body bulges smoothed out.  This story also introduces Curly, the first of what would be a recurring type of bully who also works at the paper and pranks Clark Kent.  By the end of the story, Clark finds a way to get some payback.

#8 is another classic moment for Superman as a social justice warrior.  He decides to tackle the problem of juvenile delinquency in slum kids–by tearing down the entire slum, thus forcing the government to build them new housing ala FEMA!

Of course, actions have consequences, and in #9, the police bring in Chicago cop Detective Captain Reilly, known as “100% Reilly” for always getting his man.  Reilly’s plan hits a significant snag when he attempts to chisel an informant out of the substantial reward money promised.   Clark Kent is barely able to escape detection, but at the end, the visitor is known as “99% Reilly.”

#10 is another social justice story–Superman goes undercover as a prisoner to expose inhuman conditions imposed by a crooked warden.  (Warning: torture.)

#11 continues Superman’s impersonations.  To expose a crooked oil company, he poses as investor Homer Ramsey and contrives a beautiful scam where he tricks the oil company executives into trading their real money for their own worthless stock.  Environmentalists may cringe at how he does it, though.  (Presumably Superman turns the money he made over to charity.)

#12 has an interesting Zatara cover with a nifty spaceship.  The Superman story has him getting angry at reckless drivers and automobiles that are unsafe at any speed.  So he imposes a reign of terror on the city.  (And admittedly, fixes a particularly bad stretch of road.)  You can just feel Siegel’s outrage boiling off the page as Superman refuses to use doors in his pursuit of strict traffic enforcement.  Also in this issue, an announcement of DC’s second superhero, the Batman!

New York World’s Fair #1 ties into that 1939 event.  Clark and Lois are sent to cover the opening, but Superman spends most of his time helping attractions open on time and thwarting a criminal plot.

Action Comics #13 starts its story with Superman fighting the “Cab Protective League”, a shakedown racket aimed at taxi drivers.  However, we soon meet the first ever evil mastermind to battle Superman.  The Ultra-Humanite is a bald scientist who has given himself super-intelligence (which may or may not have anything to do with his paraplegia.)  Moriarty-like, he’s been secretly behind some of the criminal schemes Superman has thwarted.

His vast knowledge of science allows the Ultra-Humanite to stun Superman, but not kill him.  The evil scientist then appears to die in a plane crash, but Superman is unable to find a body.   He’ll be back several times, until Lex Luthor takes over his ecological niche.

And the volume concludes with Superman #1, as Superman became the first superhero to have his own solo comic book.  Most of the contents were reprinted from Action Comics #1-4.

However, the first story had a new introduction naming Krypton and the Kents for the first time, and establishing that John and Mary Kent had passed away from old age after training Clark in American values.  We then see how Superman learned of the innocent person condemned for murder and where to find the murderer seen in the first story.

The explanation of Superman’s powers now explained that Earth’s lighter gravity aided his advanced body structure to perform his superhuman feats.

Finally, there’s a two-page text story.  These prose stories appeared in comic books to force the post office to classify them at a lower postal rate.  Usually, they weren’t very good.  No exception here.

The art is crude but dynamic, and it’s fun to watch Superman perform his many feats.  This is a rougher-edged fellow who very much has opinions, and isn’t afraid to take matters into his own hands.  Soon he’ll calm down a bit and become more authority-friendly (and develop a code against killing.)  No more random kidnappings!

Highly recommended to Superman fans and those who want to know more about the early history of superhero comics.  Check your library!

 

Book Review: The Infinite Arena

Book Review: The Infinite Arena edited by Terry Carr

Science fiction, in a way, is a very broad genre, that can easily contain stories of other genres within itself.  Thus space westerns, fantastic romance, star war novels and so forth.   In this case, we have a sample of sports stories set in science fiction terms.

The Infinite Arena

Lead batter in the lineup is “Joy in Mudville” by Poul Anderson & Gordon Dickson.  It’s a Hoka story as the imaginative aliens that look like sentient teddy bears have taken up the sport of baseball.  As is their wont, they have assumed the identities of fictional ballplayers of Earth, including the Mighty Casey, their best batter.  Unfortunately, their latest opponents, the Sarenn Snakes, are masters of psychological warfare.  Alexander Jones, the ambassador from Earth, must summon one of his rarely-appreciated talents to save the day.  It’s all very silly.

“Bullard Reflects” by Malcolm Jameson begins with the Space Patrol celebrating the Jovian armistice with athletic contests, including the sport of Dazzle Dart, played with flashlights and mirrors.  But it turns out not all the Jovians are honoring the armistice, and Captain Bullard’s Pollux is sent to track down diehards who’ve taken over an experimental weapons testing station.  Things look dark for the Patrol when they are ambushed and disarmed, but Bullard figures out a way to make the situation a Dazzle Dart game…to the death!  A fine bit of pulp writing, but Mr. Jameson piles the awesomeness of his heroes a shade high.  Not only are they the fleet champions in Dazzle Dart, but are best at all the other athletic contests too, and the Pollux is the only ship in condition to fly when the crisis arises as all the others slacked off when peace was declared.

“The Body Builders” by Keith Laumer posits a future in which most people who can afford it store their physical bodies away and use humaniform robots by telepresence.  Dueling has become a frequent occurrence thanks to the more or less disposable extra bodies, and the protagonist is a professional gladiator.  Which is all well and good until he’s tricked into a duel in his weak “pretty boy” body used for dates, as opposed to the monstrosity he uses for combat.   He sees no way out except to tarnish his honor temporarily in an effort to get to his backup bodies, but is eventually forced to resort to his original organic form–if this one dies, it’s curtains!  Some of the celebrities name-dropped as body models are now obscure, which may make reading the story a chore for the young.

“The Great Kladnar Race” by Robert Silverberg and Randall Garrett has Earthlings stuck on a backwater planet try to create some excitement by organizing a race of the local beasts of burden.   The twist ending is one that could have been thwarted easily if any of the Earthlings had bothered to ask the natives relevant questions.

“Mr. Meek Plays Polo” by Clifford D. Simak involves space polo.  Don’t know how that’s played?  Neither does Mr. Meek, a retired bookkeeper now touring the Solar System in the spaceship it took him a lifetime to save up for.  But he did see a game once, which is more than anyone else in the rowdy frontier of Saturn’s rings has to their credit.  So when the radioactive moss harvesters are talked into a game by a social worker trying to civilize them, Mr. Meek is drafted as a coach for one team, and eventually a replacement player.

As you might guess from his name, Mr. Meek is a timid fellow who tries to explain the reality of the situation, but no one is listening until he is so riled up that he bets his ship on the contest.  (Apparently, he keeps getting into this sort of situation.)  Oh, and there’s an infestation of metal-eating bugs to deal with; that can’t be good.  Things sort themselves out in the end.

“Sunjammer” by Arthur C. Clarke is more “hard” SF than most of the other stories, as solar yachts use the pressure of sunlight to have a race from Earth orbit to the Moon.  One of the ships is manned by the inventor of solar sails, after decades of work finally able to compete; but this will be his last chance.  Soon, solar flares will make it too dangerous to yacht, and he’ll be too old for the sport by the time it’s safe again.  This one has a bittersweet ending.

“Run to Sunlight” by George R.R. Martin is comparatively light considering his reputation.  A spaceport’s amateur football league is thrown into chaos when a team of heavy-worlders apply to play.  The government doesn’t want the coordinator of the league to reject the application as they’re trying to keep a peace treaty going, and this is an obvious propaganda moment.  But the aliens prove to have major advantages in the sport, and the war may start again if they can prove how weak the Earthling really are.  Good use of strategizing and using strengths and weaknesses, but true victory goes to the person with their priorities straight.

I liked the Laumer and Clarke stories best.  The stories were written from the 1940s to the 1970s, so there are none that feature female athletes, and the few women that do appear are largely useless in plot terms.  (The Laumer story has the protagonist choosing between a young woman who hates artificial bodies but genuinely likes his personality and a flashier woman who wants to get married for a five-year trial period so she doesn’t have to work anymore.)

Recommended to fans of “strange sports” stories and fans of particular authors who haven’t seen these stories before.  Check interlibrary loan or the finer used book stores.

Comic Book Review: The Secret Society of Super-Villains Volume One

Comic Book Review: The Secret Society of Super-Villains Volume One edited by Ian Sattler

DC Comics has produced many fine characters in its superhero books over the decades, including iconic super-villains.  It can be a lot of fun watching the bad guys do things when their specific hero isn’t around to stop them.  Thus, in 1976, we got the first DC series dedicated to the adventures of a super-villain group.

The Secret Society of Super-Villains Volume One

Several baddies are invited to a “Sinister Citadel” in San Francisco by  means ranging from a rock with a note wrapped around it to an intergalactic sub-space message.  There they are met by a clone of the Paul Kirk Manhunter (even in the 1970s we had characters with convoluted backstories) who claims to have gone mercenary and now works for their mysterious “benefactor.”  The assembled villains are ambushed by a robotic version of the Justice League, and easily smash them, demonstrating the power of numbers.  Then Gorilla Grodd and Copperhead are sent on an initiation mission, which goes south and Copperhead is captured by the police.  Still, the fun is just beginning!

Since the Comics Code was still in effect at the time, the villains could never be allowed a full victory, and in the second issue we meet Captain Comet, DC’s first mutant superhero, who hadn’t appeared since the 1950s.  It was explained he had been out in space, and unaware of current events.  The Society decides to dupe him into working with them–it doesn’t actually work because he’s out of touch, not stupid, but since it is revealed at this point that the Society’s secret benefactor is the evil New God Darkseid, who none of the villains particularly want to serve, Captain Comet winds up teaming with the Society anyhow.

Once the Darkseid situation is resolved, the various members of the Society come up with their own evil schemes, and Captain Comet proceeds to be a thorn in their sides.  This volume collects the first ten issues, and an alternate version of the first issue with slightly different characters and a significantly different plot.

Company politics resulted in three different writers in ten issues, as well as no steady art team.  Series creator Gerry Conway was the most frequent author.  This also affected the casting; some editors at DC wouldn’t let iconic villains associated with their heroes be used, so the Society was heavy on Flash foes (because Mr. Conway was also writing the Flash), relatively obscure characters such as Copperhead and the Earth-2 Wizard, and featured a new person in the role of Star Sapphire, replacing Green Lantern Hal Jordan’s long-time love interest Carol Ferris.

Lex Luthor does show up for one issue, but it’s a very poor showing for him, winding up arrested by ordinary police officers.  Longer lasting was Funky Flashman, a non-powered grifter and entrepreneur who is believed to be Jack Kirby’s satire on Stan Lee’s less stellar qualities.  (His appearance is changed in this series to more closely resemble how Stan Lee looked in the Seventies.)

Sales were never particularly good on this title, and it would get cancelled in the DC Implosion, but it’s a fun look at the bad guys as they were at the time.  (The alternate first issue plays up Captain Cold’s would-be ladies’ man trait, which was his main characterization point at the time.)  Recommended to DC Comics fans and fans of the Flash TV series.

Book Review: That Ain’t Right

Book Review: That Ain’t Right edited by Jeremy Zimmerman & Dawn Vogel

Disclaimer:  I received this book in a Goodreads giveaway on the premise that I would review it.

That Ain't Right

Howard Phillips “H.P.” Lovecraft (1890-1937) was a minor writer of horror fiction in the early 20th Century.  But thanks to a gift for purple prose, a strong philosophical unity in his stories’ viewpoints and (most importantly) a willingness to share his ideas, he’s been immensely influential in the development of the horror field.  He’s best known for the Cthulhu Mythos, a series of stories involving cosmic “gods” that are implacably hostile to humanity as we know it, not out of malice as such, but because humans are irrelevant to the universe at large.

A number of his stories were set in the Miskatonic Valley region of Massachusetts, a fictional backwater including such shadowed locations as Innsmouth, Dunwich and Arkham.  That last one will be familiar to Batman fans.

Which brings us to the book at hand, an anthology of first-person narratives set in the Miskatonic Valley.  They range in time period from about the 1890s to the far future, and one is set in an alternate history.  As is traditional in Lovecraft-inspired fiction, several of the narrators cannot be telling their stories to any living person, although none of them are quite to the level of that one Lovecraft protagonist who was still writing in his journal even as the monster was actually entering the room.  An especially nice touch is that the fictional narrators have their own author bios at the end of the stories.

Some standouts in the anthology include:

  • “Arkquarium” by Folly Blaine:  A high school student working part-time at the Arkham Aquarium tries to impress the girl he likes by sneaking into the locked laboratory section.  Turns out there’s a reason no one is supposed to go in there.  The protagonist shows some gumption, but isn’t unrealistically competent beyond the average teenager he is.
  • “The Reservoir” by Brian Hamilton:  A direct sequel to Lovecraft’s classic “The Colour Out of Space” which has a microbiologist investigating particles in the water of the title lake.  He finds an old well still calling–or is it a hallucination of the deep?
  • “The Pull of the Sea” by Sean Frost:  A ghost learns that not even death can protect you from the worse horrors that come from the ocean.  The story carefully sets up rules, then the creatures that break the rules come along.
  • “The Laughing Book” by Cliff Winnig:  A college student studies the title book in the restricted stacks of Miskatonic University.  This story is more influenced by Lovecraft’s “Lord Dunsany” period of dark fantasy than his straight-up horror.

The quality of writing is generally good, absent a couple of typos, and the annoying use of phonetic dialect in “Dr. Circe and the Shadow Over Swedish Innsmouth” by Erik Scott de Bie.  Horror tends to be subjective as to whether it works for you or not; I found most of the stories nicely creepy, with a couple going a bit too much for the gore for my tastes.

Recommended for fans of the Cthulhu Mythos, and the more literate horror fan in general.

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