Neon Visions

The mysterious and pervasive algorithms of the internet offered me this book the other day: Neon Visions: The Comics of Howard Chaykin. I'm interested in checking it out. Though I'm not familiar with the author, I agree with his contention that Chaykin's contributions to the field haven't been analyzed with the same sort of detail afforded other creators. 

Once I got around to reading it, I'll report back.

Some Collections I Enjoyed

Sometimes, I finally get around to reading some stuff from decades back that's new (at least in part) to me. Here were my thoughts on a couple of things:

Incredible Hulk Epic Collection: Crisis on Counter-Earth: I hate that the Big Two don't number a lot of collections these days, but if it matters this is volume 6 of the Hulk Epic Collections, apparently. These are stories from the early 70s, written by Englehart and Thomas and drawn by Trimpe and they are crazy. The Hulk wanders from one situation (and fight) to another, often running into people he knows no matter where he is. The Marvel universe seems really small! 

It opens with Hulk returning to Earth after a sojourn in Jarella's microverse world, which he accidentally kicked out of orbit when he grew big again. He's briefly reunited with some of his supporting cast, but then he's attacked by the Rhino being mind-controlled by the Leader. He pursues Leader/Rhino into a spacecraft and keeps trying to fight him as the ship veers off course and takes them to Counter-Earth. They are there for 1 issue and get involved in conflict with factions of New Men, before grabbing a rocket back to regular Earth. There, Hulk goes looking for Betty who's marrying Talbot. Ross sends Abomination to fight him, but Hulk prevails, and Abomination has a breakdown over the fact he had ben unconscious for 2 years (since his last appearance where Hulk punched him out of space). And all this isn't even halfway! The Hulk goes to Counter-Earth again before it's all over and bears witness to the death and resurrection of Adam Warlock.

This the sort of flying by the seat of the pants comics' storytelling we don't get in this age of decompression. 

Solar, Man of the Atom (1991): Valiant wasn't on my radar when it started and by the time it was it was the darling of Wizard. I was skeptical and avoided it. So, 30 plus years later I'm getting around to reading it's second title. And I'm actually pretty impressed.

Shooter is definitely still cogitating on the concerns that led to the conception of the New Universe. Valiant is realistic superheroes. Where for Moore "realistic" means a whole lot of sexual fetishes, for Shooter it means them having to deal with problems like the unexpected difficulties of flying (it's like a motorcycle but worse) or what to do if your powers keep destroying your clothes. (Maybe some sexual fetishes, too, but they show up less.) Shooter's protagonists in this realistic mode, from Star Brand to Solar, have a hard time figuring out how to do the superhero thing--the sort of stuff that somehow just seems to happen for people when they get powers in most comics.  

Shooter's protagonist, Phil Seleski, definitely can't get things right. He gave himself powers Dr. Manhattan-style in a fusion mishap, but then something bad happened that resulted in the deaths of a lot of people. So, now he's back in time trying to stop that. Maybe he'll kill his past self--but then he accidentally creates his childhood superhero fav Dr. Solar from parts of his psyche, and now that guy is convinced future Phil is a super-villain. Which, in a way, he sort of is. 

Eventually, all of this resolves into more standard stuff, but it's a pretty interesting origin, perhaps given additional resonance by the sense of foreboding Windsor-Smith's art creates with the flashback backstory--though maybe this is only for me since I last read his stuff in Monster. For some reason, comics in the 80s and early 90s at least tend to do interesting things with nuclear test related heroes: Dr. Manhattan, the Bates/Weisman/Broderick Captain Atom, and this. Firestorm is perhaps the odd man out.

Blackstar's Planet Sagar

Recently, I revisited the 13 episodes of the 1981 Filmation Saturday morning animated series, Blackstar. Jason and I watched an episode of Blackstar back in our Classic TV Flashback series. Watching most of the episodes, I feel like I came away with a good sense of the worldbuilding that was (or wasn't) being done to develop the planet Sagar as a fictional place. And I noticed some interesting details.

Sagar is a sparsely populated world. The few cities we tend to be small in area. There is no apparent surrounding farmland or outlying villages. Indeed, I don't think a village is seen in the series outside the arboreal home of the Trobbits. Sparsely populated worlds are common to animated and live action TV science fiction of the 60s to 80s, no doubt for budgetary reasons, but desolation is also a trait shared by Barsoom, the progenitor of literary Planetary Romance. Barsoom, of course, has the excuse of being a dying world and its city-states are presumably grander than what we see on Sagar. With the land of Gondar in episode 13 as perhaps an exception, you might think Sagar is inhabited by only a few thousand people, or even less.

This small population estimate is reinforced by the relatively inhospitable terrain of much of Sagar. We see a of rugged desert, broken by mountains and jungles, and a lot of very active volcanos. There are a lot of ferns and palms in evidence (in alien colors), and perhaps cycads. There is little evidence of grass, much less fields of grain. The Trobbits, the people we see most involved in food preparation, seem to live pretty much exclusively on the varied and fantastical fruit of the Sagar tree. Well, we do see them fishing in one episode, so there's that too.

Illustration from the Dinosaurs Little Golden Book

These details: rugged terrain, sparse grass, and volcanism, really make Sagar resemble the depiction of ancient earth in dinosaur illustration of the midcentury. Combined with the number of large animals/monsters it projects the feeling of Sagar as a primitive or primeval world, a trait it shares with Filmation's portrayal of Mongo from Flash Gordon and the variously named world of The Herculoids.

Flash Gordon: The Greatest Adventure of All (1982)

Beyond these Planetary Romance or pulp science fiction elements, Sagar seems to borrow from fairytale fantasy. The show's recurrent opening features a scene of Blackstar and the Trobbits that is clearly an homage to Snow White (1937).

It doesn't end there though. Episode 7 reveals that winter (at least in the vicinity of the Sagar tree, but perhaps on the whole world) only ends when the Cloud Princess Lailana arrives to unlock the box that holds Springtime for the Trobbits. She is pursued on this mission by Creos, the Ice King, who has a flying fortress himself in a storm cloud, outfitted with technological equipment that appears to be made of ice. This is a fairytale like Baum's children's books or some of Jack Kirby's comic book flights of fancy: one that is updated to the technological conceits of its era. In fact, I think a not unreasonable elevator pitch description of Blackstar would be "John Carter of Oz."

With only 13 episodes and the budgets each episode must have had, Sagar isn't as developed as it's progenitor Mongo or it's descendant, Eternia. Still, it's broad strokes portrayal is a window into the conceits and influence that undergird these imagined worlds.

The Incredible Shrinking Particle [Omniverse]

In the waning days of Google+ (remember that site?) I did a series of superhero-themed posts inspired by Wold-Newton essays with the conceits that there was only one Earth (encompassing both the Marvel and DC and possibly other "universes") and the world tended to work like our own, despite its somewhat altered history. This served to both ground the characters in history--making them more "realistic" and making history stranger! The name for the series was taken from Mark Gruenwald's 1979 fanzine about alternate comic book realities.

Like baby Kal-El, those posts were rescued from the dying G+, and the Flashback Universe seems a good place for some of them to crash!

It took a bit of chutzpah for a guy who almost died in an ant-hill on the occasion of its discovery to name a physic-defying particle for himself, but that’s what Hank Pym did in 1961, and somehow, he got it to stick.

He didn’t get there first, of course. That mad genius Miguelito Loveless tortured James West with shrinking in 1875, but that incident was classified. It’s likely Pym’s own experimentation was spurred by the tragic case of Scott Carey, “the Shrinking Man,” a few years earlier. Or perhaps he had heard of Darrell Dane’s exploits as Doll Man in the 1940s? (The late thirties to late forties were the heyday of chemists and pharmacists inventing super-powering concoctions. They were churning them out like they had soft drinks and tonics in the late 19th Century. There was a brief resurgence of this in the late fifties and early sixties, but by the seventies, the FDA and DEA made sure this was only the province of major corporations and government agencies.). At Ivy University, Ray Palmer was making his discoveries around the same time, isolating the magical particles through a lens made from exotic “dwarf star matter.”

On the subject of dwarf star matter, it seems that South America has the largest supply. Alexander “Dr. Cyclops” Thorkel was shrinking things in his lab in Peru. The radioactive cloud that passed over Scott Carey off the coast of Southern California likely originated in South America. Ray Palmer would later discover a hidden civilization of shrunken alien humanoids in the Amazon rainfrost, purportedly made so by a malfunction in their ship’s drive which used dwarf star matter. Perhaps their crash is the ultimate source?

More Lost Marvels

A few weeks ago, I mentioned Fantagraphics' Lost Marvels, a new archive series of presumably non-superhero, forgotten Marvel material. Volume one is out now and is Tower of Shadows, collecting most of the material from the 9 issues of the horror anthology series. Volume two is titled Howard Chaykin vol. 1 and collects his work on several minor Marvel characters like Dominic Fortune.

Volume 3 seems to have been announced last week. It's Savage Tales of the 1980s. Based on the description from Fantagraphics, I assume it collects the eight issues (Oct 1985 - Dec. 1986) of Savage Tales volume 2. Its somewhat artsy cover is amusing to me as it strikes a very different vibe than the typical cover of the actual series:

Anyway, it's interesting to me that an article from April 28 on Comics Beat essential gave a different description and list of contents for this volume:

In November, Fantagraphics will publish Lost Marvels No. 3: Savage Tales. Best known for Roy Thomas and Barry Windsor-Smith’s Conan the Barbarian and the first appearance of Gerry Conway and Gray Morrow’s Man-Thing, 1971’s Savage Tales was a stunning comics magazine in the spirit of Creepy and Heavy Metal. This volume will collect all 11 issues of the series featuring work from Stan Lee, John Romita, Dennis O’Neil, Al Williamson, Jim Steranko, John Buscema, and a host of other legendary creators delivering a high-octane combination of fantasy, horror, and action.

This clearly sounds like first run of Savage Tales instead. It clearly would not have included the Conan and Kull stories that appeared in that volume since Titan now has the Robert E. Howard properties license, but presumably the Ka-Zar stuff and other things.

Does the switch mean we won't be getting this material in Lost Marvels? The specificity of "of the 80s" in volume 3 title suggests to me that maybe there is still a consideration of publishing the Savage Tales vol 1 (i.e. "of the 70s") material, but we'll see. 

It doesn't sound like there's more to come. This is what an article from Publishers Weekly back in March had to say:

Subsequent Lost Marvels volumes will include...stories from Marvel science fiction titles like Unknown Worlds of Science Fiction, and action/war material like Doug Murray and Michael Golden’s The ‘Nam. Dean hopes to collect Chamber of Darkness, the companion title to Tower of Shadows, featuring a similar mix of horror and fantasy.

Big-Ass Sword

Coincidentally, the day after I posted about the anthology comic I bought in Germany, Fantasy 3000, I saw this article about an upcoming (English language) collection from Rebellion of the Big-Ass Sword stories that have appeared in that anthology by writer/artist Andreas Butzbach. 

The ad copy says: "In a world far from our own reality, a robot warrior wanders through a vast and hostile techno landscape, filled with strange lifeforms and mechanical beings left over from a long, forgotten war. At the robot’s side is a talking Skull. On his back, a BIG-ASS SWORD!" 

Anyway, it's up for pre-order.

 

Comics Find in Germany

 While on vacation last week, I went into a bookstore in the Franfurt Airport and saw some Germany comics. There was a book of various Flash Gordon reprints and a few comic anthologies from a publisher called Weissblech Comics. I picked up this anthology, Fantasy 3000:

These are big: 80ish pages and large format--maybe like 10'x`12'-ish, though I haven't measured it to get the exact dimensions. It contains 3 strips: "Warriors of Gorakon", "Big Ass Sword", "The Sword of Tuatha", "Gorrn", and "Space Pilot Resi Stenz" with a range of art styles. Here's the splash page of the first story:

Middle-earth in Blacklight

It's well known that hippies were into Tolkien's work. Some of its themes appealed to them, certainly, but like with Lee and Ditko's Dr. Strange comics, there was also the idea that the works might somehow be drug-influenced. The author, it was assumed, might be taking the same trip as them. This was, of course, a false belief, but it was one that existed.

I this appreciation of Tolkien filtered through 60s countercultural and mixed with the prevalent cultural representations of fairytale fantasy led to a subgenre or aesthetic movement within fantasy, most prevalent in the late 70s and early 80s, before D&D derived fantasy came to ascendancy. While this subgenre likely finds expression in literature and even music to a degree, I think it is most recognizable and definable in visual media. It's evident in works like Bakshi's film Wizards and the Marvel comic Weirdworld (both in 1977), and in the Wizard World sequences (starting in 1979) of Mike Grell's Warlord. Elfquest (1978) shows the influence to a degree. Bodē's Cheech Wizard (1966) and Wally Wood's Wizard King (introduced 1968 but significantly presented in 1978) are either the oldest examples or its direct progenitors.

Essentially, the subgenre eschews the serious world-building of LotR for a more drug-influenced riff on The Hobbit, often with greater use of anachronism, camp, and sexiness, and often with a degree of psychedelia. Beyond the Tolkien influence, these works tend to share a number of common features:  a "traditional" visualization of elves and dwarfs as "little people," arising in folklore and classic illustration, but coming more directly from Disney animation and the fairytale comics of Walt Kelly; the influence of Denslow's Oz illustrations or the design aesthetic of The Wizard of Oz (1939); absurdism and humor borrowed from underground comics and Warner Brothers cartoons; unreal landscapes and visually alien settings informed by Sword & Sorcery and science fiction comics rather than historical or mythic sources of Tolkien.

Given they were contemporaries, D&D shows some in influence from these sources, primarily in its early art and occasionally humorous tone. But as a game that arose from wargaming there was always a thread of verisimilitude or equipment fixation that runs counter to this freewheeling psychedelic adventure vibe. Also, the violent, heroic narratives tended to have less room for the silly or less competent characters of psychedelic fantasy works.

Warlord by Mike Grell Omnibus Vol. 1

We finally have a solicitation for the Warlord Omnibus mentioned back in the fall. It supposedly only has a price of $75.00, which seems low given the page count (1040 pages).

In any case, it's supposed to include 1st Issue Special #8, Warlord #1-50, and Amazing World of DC Comics #12. For a volume 2 (if there is one) that leaves the non-backup stories from Warlord #52-71 (#51 is a reprint), Warlord Annual #1, Warlord (1992 limited series) #1-6, and Warlord (2009) #1-16 for a total of around 1005 pages in that one, by my count.

Comics I Liked This Week

 Not all of these were new last week, but that's when I got around to reading 'em!

Absolute Martian Manhunter #1: I a fan of Martian Manhunter and particularly a fan of new interpretations of the character from the DeMatteis/Badger limited series, to American Secrets, to the underappreciated series by Orlando and Rossmo. This title sits firmly in that tradition with a first issue that is something like the traditional origin of Martian Manhunter meets Shade, the Changing Girl, and I dig it.

An FBI agent, Jones, is nearly killed in a bombing and since he's been having hallucinations and seems disconnected from his life. As he (against orders) investigates the bomber and tries to make sense of his motives he discovers the was only saved by somehow bonding with an alien intelligence. Or possibly that Other is a manifestation of something already within him--maybe his own mind? At this point, it's unclear. Deniz Camp's story is intriguing and well done, but I feel like the really star here is the psychedelic art of Javier Rodriguez, that reminds me of the pop art inspired comics work of Guy Pellaert or Alberto Solsona.

Bug Wars #1: This one is on issue 2, I think. Slade Slaymaker, along with his brother and mother, is forced to move back into the home where his entomologist father died a grisly death. It's a home with secrets. Not the least of which is that there are warring tribes of diminutive insect-riding humanoids having epic battles in the unkept backyard!

Ad copy calls this "Honey, I Shrunk the Kids meets Conan" but I feel like Aaron and Asrar are fulfilling the promise of Sword of Atom or the Hulk stories set in Jarella's world in a gritter, modern way.

The Seasons #1: This title from Remender and Azceta is actually on issue 3 now. The series is set in an alternate 1920s (I think).   A decade ago, the parents of the Seasons sisters disappeared. Now Autumn has discovered where they might be, and how it might be connected to a creepy carnival that has just arrived in New Gaullia where Spring Seasons is. Will Spring be able to avoid falling prey to the carnival's clowns?

Remender said that they wanted to do something that paid homage to "paid homage to Tintin, Miyazaki, Winsor McCay, and Jeff Smith’s Bone." I feel like those influences are very much on display in the style and setting of the first issue. There's also a tinge of horror lurking in the background that adds intrigue to the whimsy.

Lost Marvels

Fantagraphics has been doing hardcover with some Timely and Atlas stuff for some time, similar to their EC Comics Library. An interesting development that slipped by me was the announcement of a new archive series of more recent Marvel material: Lost Marvels.

Volume 1, set to release at the end of April, is Tower of Shadows. It collects the 9 issues of the never before collected horror anthology series from 1969. (With issue 10, the series became Creatures on the Loose, and some of that has been reprinted elsewhere.)

While that's interesting, I don't know if that would go into the buy column for me, or it wouldn't have, but then I saw the announcement of volume 2. That volume's titled: Howard Chaykin Vol. 1: Dominic Fortune, Monark Starstalker, and Phantom Eagle. It collects the first (maybe only?) appearance of Monark Starstalker in Marvel Premiere #32, all the color Dominic Fortune stories by Chaykin including the Max limited series, and the collaboration with Garth Ennis, War Is Hell: The First Flight of the Phantom Eagle. Pretty cool contents, particularly when there is no chance of ever seeing any sort of Dominic Fortune collection. 

The "vol. 1" implies there may be a Chaykin volume 2 in the future.

Rust was Weird

This week the score from an ebay auction came in: All 13 issues of the 1987 series of Rust by Now Comics. My brother had two issues of this (as it turns out, the last two) when we were kids, and those issues had left us curious about the rest of the comic. 

Well, since I bought them as a gift for my brother, I haven't read them yet, so I can only report what I know from the internet and the two issues I have read, but in brief, Rust is the story of a cop who presumably through some sort of accident gets super-tough skin, acid blood, and a gruesome appearance. The original writer was Steve Miller, but most of the run is written by Fred Schiller. The art is most by Tony Atkins and Jim Brozman.

I gather most of the series is Rust taking on various non-super-powered bad guys. The first issue we read was issue 12 that is the culmination of a storyline involving Rust taking on a cult. It had an eye-catching cover and a preview for Now's Terminator comic. The next issue blurb promises: "the end of the world."

And this was not hyperbole.

The final issue (September 1988) has a deadly plague spreading across the globe. Rust and his (I guess) love interest are separated by events and presumably unaware the other is alive for most of the story. It's a hell of a way to bring a truncated run to an end!

While I admire the audacity of that ending, it's no wonder the 2nd Rust series in 1989 completely ignores it.

The Adventurers

This weekend, I won an ebay auction on the Malibu collections of The Adventurers from 1990. If you don't remember this minor title of the 80s black and white boom, it's a fantasy series started at Aircel in 1986 by artist Peter Hsu (later replaced by Kent Burles on interior art) and scripter Scott Behnke. After 2 issues, it moved to Adventure Publications where it ran for 10 issues. 

In 1987, it was followed by Book II than ran for 7 issues. Adventure was acquired by Malibu as in imprint in 1989 and there was a Book III that ran for 6 issues. 

In an era when Sword & Sorcery comics not based on a work by Robert E. Howard were disappearing from the stands, The Adventurers was practically its own small universe. There were also spinoff series: Warriors, Ninja Elite, and possibly Hsu's Elf Warrior, though I'm unclear if it's in the same world.

While clearly drawing inspiration from the S&S comics of the 70s and earlier 80s, The Adventurers explores new territory by borrowing the adventuring party from Dungeons & Dragons, and other fantasy rpgs and making a recurring character a representative of the important 80s group: the ninja. 

I can say that The Adventurers is anything phenomenal but if you are a fan of S&S comics (which I am) or 80s black & white indies (also me), I think they are at least worth checking out. There's one fansite I've found dedicated to the series.

Captain America: Brave New World

I saw the new Captain America movie this weekend. It continues the adventures of Sam Wilson as Captain America. Those that missed The Falcon and the Winter Soldier Disney+ series might have missed that he took over the mantle from Steve Rogers sometime after the events of Avengers: Endgame. It also features a new Falcon, Joaquin Torres, and a host of other characters from previous Marvel films, including some call backs to the early days of the franchise.

In brief, Thaddeus "Thunderbolt" Ross has been elected president, and Wilson has been working with them despite tensions that remain from the period of Captain America: Civil War. Ross even asks Wilson to consider restarting the Avengers. Ross has secrets, though, and events put Wilson at odds with his Commander-in-Chief as he strives to clear the name of a friend and prevent a hidden mastermind from starting a war.

I probably liked this installment of the Cinematic Marvel Universe better than I've liked most Marvel films since about 2019.  It was less jokey than average, which was nice, adhering to the template of Winter Soldier.

My brother observed that it's a very Bronze Age Comics movie, and I think he's right. Not in the basic elements of the story which are a mix of (original) Ultimate Universe realism and 21st Century characters and arcs, The structure, however, of things partakes (like Winter Soldier) of 70s political thrillers and the call backs and tying of loose ends of less successful Marvel films (The Eternals and The Incredible Hulk) recalls the way writers would finish off stories with guest appearances in other titles, particularly team-up books like Marvel Two-in-One or Marvel Team-Up. It plays very much like the Captain America Annual dealing with story elements from the aborted Eternals and Hulk runs.

Denny O'Neil's Bat-Bible

In 2021, Scott Peterson, writer and former assistant editor to Denny O'Neil, posted O'Neil's Batman Bible from 1989. It was a writer's guide to the character and his world for that era of comics and from the perspective of O'Neil.

Obviously, the mythos has evolved over that time and some of O'Neil's takes would not have been universally accepted by other writers at the time (like, "he never kills"), but it's a good distillation of the understanding of the character and his world from a man who did a whole lot to shape that mythos over the years.

Check it out here.

Collections I'd Like to See

 There are so many runs in the Bronze and early Modern Ages of comics that haven't been collected or haven't been collected recently. Here are five I'd really like to see:

Dominic Fortune: This 30s pulp adventurer created by Howard Chaykin also managed to have some adventures in the modern day. Chaykin even came back and did a series in the 00s but let's end this collection in the 80s. Includes material from Marvel Preview #2, Marvel Super Action #1, and The Hulk! #21-25; Marvel Premiere #56, Marvel Team-Up #120, Web of Spider-Man #10, and Iron Man #212-213.

DC Comics Presents: While we're on the subject of Superman, where's our Superman: DC Comics Presents Bronze Age Omnibus? Sure, the series was collected in Showcase Presents volumes, but we need them in color omnibus to balance the Batman team-ups in Brave and the Bold. I don't know how many omnibuses it would take, but we need the whole series: DC Comics Presents #1-97 and annuals #1-4.

Nth Man: The Ultimate Ninja: This one isn't likely to be high on most people's lists (it was meant to last 24 issues but only went 16), but I appreciated what Hama and Wagner were trying to accomplish, which was something like G.I. Joe meets Akira. Even if it's a failure, it's an interesting one and deserves to be seen by more eyeballs! A collection could include material from Marvel Comics Presents #25, Nth Man #1-16, and Excalibur (vol. 1) #27.

Superman and the Forgotten Heroes: The Forgotten Heroes, a minor team in the 80s of short-run characters from the Silver Age, are once again, mostly forgotten--except maybe for Animal Man, whose inclusion I'd argue help raised his profile for better days to come. This would include Action Comics #545, 552-553, and DC Comics Presents #77-78. It could be rounded out with earlier Bronze Age appearances of the individual characters with or without Superman: Showcase #100, Detective Comics #486, Wonder Woman #268, Action Comics #536, and Action Comics #540.

Cover mockup by Catspaw Dynamics

Barren Earth: This sci-fi epic by Gary Cohn and Ron Randall about the survivor of an expedition of spacefaring humans to a post-apocalyptic Earth working to reunite the remnants of humanity ran as backups in Warlord, then got a limited to tie things up. It has never been collected. A collection should include material from Warlord (first series) 63-74 and 76-88, Who's Who vol. 1 #2, and Conquerors of the Barren Earth #1-4. 

Late Bronze Age Superman

In my readings of 80s DC Comics from 1980 to Crisis, I've noticed DC slowly shedding its Bronze Age character and developing greater similarities with Marvel--at least as far as mainstream superhero titles. In some important ways DC fostered experimentation that would be instrumental in establishing the "modern age" of comics. But as titles like Firestorm, the Teen Titans, and to some degree Justice League of America become less distinguishable from Marvel's output, I feel like Superman retains a character uniquely its own.

It's hard precisely to define. I think Marvel boosters would pounce on the Swan art and the plots based on tricks or surprise reveals and say they're old fashion--and sure, those things are holdovers from earlier eras. But the content of these stories hasn't stayed static. Superman doesn't become grim or gritty by any means, but the sophistication of its plot elements or concepts is no less than the average of other DC or Marvel Comics of the era. 

What's most noticeable is that there is less violence in the Superman titles than probably any title at Marvel or the more Marvel-like DC titles. This doesn't mean there isn't any action. Superman is all the time doing some sort of physical feat and he does fight with villains/threats, but violence is seldom the solution and sometimes Superman takes the course of taking some licks instead of fighting back.

The oft-repeated belief of a lot of (non-Superman) fans is that it's hard to tell stories with him because he's too powerful, too strong. I don't think this is the case. Let's be honest: handbook-style strength quantification is a new thing and a haphazardly applied one. Any strength-as-their-main-schtick character has fairly broad parameters to be as strong or as weak as they need to be for any given story. The Hulk is no less "strong" in the narrative sense than is Superman. If the writers wanted Superman to be "the strongest there is" they could throw a whole bunch of punch 'em up villains at him of escalating levels of astronomical strength. It's not like that has never happened in Superman's history, but that isn't the approach taken in these years by Wolfman, Bates, and Maggin, and I think they are perhaps wise for not doing so.

 That sort of story wouldn't really showcase Superman as a guy defined more by not using overwhelming force. He's Superman, not Strongman. She instead, they write stories where super-strength can be displayed and may even be useful but isn't the best solution. Superman overcomes his obstacles by smart and judicious application of his powers. He couldn't prevail without them, but neither their multiplicity nor potency is the primary factor.

The other thing is they aren't afraid to have allies show up and make trouble for him. Occasionally Superman engages in the old trope of fighting another hero, but usually he's taking their blows to by time to figure out what's going on. The arrival of Vartox or deep cuts like Valdemar takes some diplomacy on Superman's part. He can't just beat them to unconsciousness and call it a day.

All of this sort of went away to a large degree with the Byrne revamp, I feel like. Could this have been viable, alternative style for a modern Superman? I'm not sure. 

DC Comics in 1983 (part 2)

Here are links to second half of my week-by-week reviews of the DC Comics published in 1983 by cover date. It was a real turning point that saw new characters, new directions, and a lot of experiment. Part 1 was last week.

• October 1983 (week 1)
• October 1983 (week 2)
• October 1983 (week 3)
• October 1983 (week 4)
• November 1983 (week 1)
• November 1983 (week 2)
• November 1983 (week 3)
• November 1983 (week 4)
• December 1983 (week 1)
• December 1983 (week 2)
• December 1983 (week 3)
• December 1983 (week 4)
• January 1984 (week 1)
• January 1984 (week 2)
• January 1984 (week 3)
• January 1984 (week 4)
• February 1984 (week 1)
• February 1984 (week 2)
• February 1984 (week 3)
• February 1984 (week 4)
• March 1984 (week 1)
• March 1984 (week 2)
• March 1984 (week 3)
• March 1984 (week 4)

DC Comics in 1983 (part 1)

1983 in many ways was an important year for DC Comics. New superheroes titles (Batman & the Outsiders, Omega Men, and Infinity, Inc.) with some new characters hit the stands in the wake of the success of New Teen Tians. At the same time, they took chances with different content in various (mostly limited) series (Ronin, Camelot 3000, Amethyst: Princess of Gemworld, Thriller, Nathaniel Dusk). And of course, a British writer by the name of Alan Moore took over the writing of Saga of Swamp Thing.

Here are links to my week-by-week reviews of the DC Comics published in the first 6 months of 1983 by cover date:

• April 1983 (week 1)
• April 1983 (week 2)
• April 1983 (week 3)
• April 1983 (week 4)
• May 1983 (week 1)
• May 1983 (week 2)
• May 1983 (week 3)
• May 1983 (week 4)
• June 1983 (week 1)
• June 1983 (week 2)
• June 1983 (week 3)
• June 1983 (week 4)
• July 1983 (week 1)
• July 1983 (week 2)
• July 1983 (week 3)
• July 1983 (week 4)
• August 1983 (week 1)
• August 1983 (week 2)
• August 1983 (week 3)
• August 1983 (week 4)
• September 1983 (week 1)
• September 1983 (week 2)
• September 1983 (week 3)
• September 1983 (week 4)