Superman might be the world’s most popular superhero. He’s also among the most difficult to write. Through the years we’ve seen Superman travel through time, endure the heat of the sun, and perform so many feats of strength, speed, and stamina that every other superhero on earth seems superfluous.
Superman is a paragon — ageless, invulnerable, always a jump ahead. Even Kryptonite — one of Superman’s few vulnerabilities — eventually proved powerless over the Man of Steel.
With his secret identity as Clark Kent so carefully guarded, it is difficult to strike at Superman through the people he holds dear (though Lois Lane and Jimmy Olsen have been threatened by more than their share of supervillians and runaway robots in their day). Being such an ultimate superhero with so few weaknesses it’s only natural that creators should desire to pit Superman against the one great villain that gets us all, in the end — death.
Superman has died several times. Most famous may have been 1992’s “Death of Superman” arc, where Supes met his demise at the hands of the killing machine called Doomsday.
Superman would return, of course, bigger and stronger than ever, and it was never a case of “if,” but “when.” A character like Superman could never die “for reals” — he’s too valuable a property. Only an “imaginary story” could kill off Superman, and make it stick. Two of the biggest names in comics got their chance to tell just such a story. Alan Moore told the death of Superman in 1986 in the two-part, “Whatever Happened To The Man Of Tomorrow?” while Grant Morrison gave us his take two decades later in the twelve-part series, All-Star Superman.
With both Superman and Action comics wrapping of their runs in 1986 prior to John Byrne’s post-Crisis on Infinite Earths reboot of the Man of Steel, DC tasked Alan Moore with writing a coda for the Silver Age Superman. Alan Moore was the greatest comics writer of his generation, but he had to be handled with care — he seemed to write every comic story as if it were the last tale ever written. His stories were inventive and ferociously imaginative, but they also left their characters turned inside-out, with little left for the creative teams that followed. Moore’s best-known work at DC — Watchmen — was partitioned in a universe all its own, where it could do no lasting harm to DC’s heroes. Moore’s brilliant Saga of the Swamp Thing altered that character for all time, but few readers really cared about Swamp Thing before Moore got to him. Moore’s Batman: The Killing Joke put Barbara Gordan (Batgirl) in a wheelchair for a quarter-century.
So we might have expected Superman’s crucifixion when DC tossed Alan Moore the keys to the Fortress of Solitude, but his two-part story from Superman #423 and Action #583 is more prosaic than apocalyptic. At least, it looks prosaic. Illustrated by classic Superman artist Curt Swan, these issues look just like any number of Superman books from the 1960s or 70s … but there’s something twisted and dark going on beneath those Silver Age surface impressions. Like a David Lynch movie, there is dysfunction behind the happy-looking facade, which begins to crack when Superman’s goofiest foes — characters like Bizarro, Toyman, and the Prankster — turn uncharacteristically homicidal. In penning this tale of the end of the Silver Age, Moore takes his brief literally, bringing down the curtain not only on Superman, but on an entire era of four-colored adventure when the good guys always triumphed and evil contented themselves with silly conspiracies that attacked Superman’s dignity but rarely left a mark. Bizarro’s suicide at the onset of this story heralds that things have changed, the stakes have been raised, and neither Superman nor the people around him will ever know peace again. Worse yet, there may be nothing that Superman can do about it.
All-Star Superman by Grant Morrison and Frank Quietly (with spectacular digital colors by Jamie Grant) was conceived as one of a series of stand-alone, out-of-continuity stories intended to reinvent DC’s biggest heroes. All-Star Superman was the only project that reached full fruition — the controversial All-Star Batman & Robin The Boy Wonder remains incomplete after nine issues (and I may be alone in liking this series), while Adam Hughes’ All-Star Wonder Woman remains one of the great “lost” comics of recent years. Only All-Star Superman went the distance, in twelve high-quality installments readily available in trade editions (volumes one, and two), collecting an Eisner Award for “Best New Series” in 2006 and even being adapted into a not-half-bad animated feature film in 2011.
Unlike Alan Moore’s tale, All-Star Superman wears it’s weirdness on the outside. Falling prey to the machinations of Lex Luthor, Superman suffers a fatal overdose of solar radiation which substantially increases his powers while also slowly killing him from the inside. Knowing he has only a short time to live, Superman races to make up for lost time, revealing his secret identity to Lois Lane, and embarking on a series of twelve labors to defend the earth and hopefully leave the planet in a position to survive without him. Along the way, Morrison touches on all the homespun elements of the Superman myth — the Kansas farm boy with his flying dog, the unlikely and bumbling Clark Kent deception, the relationship between Superman and his pal, Jimmy Olsen.
But we are through Morrison’s looking glass here, so there’s plenty of strangeness, too, like the exotic creatures and artifacts on display at Superman’s Fortress of Solitude (viewed through the paranoid eyes of a Lois Lane suffering an artificially-induced nervous breakdown), and a 21st-century Jimmy Olsen who trails his own bizarre backstory, characterized as the kind of guy who casually hacks a commercial blimp network to engineer an aerial getaway.
Strangest of all the characters is Superman himself. Solar radiation didn’t just triple his strength — it also tripled his creativity, curiosity, and imagination — manifesting itself in an outburst of scientific experimentation that serves to illuminate Superman’s alien psychology. This series sees Superman concocting potions that award super-powers for twenty-four hours, creating miniature suns on a “Cosmic Anvil” to feed his pet “Sun Eater,” and using his x-ray vision to copy down his eight billion letter genome sequence into a book.
With twelve issues to tell his tale, Morrison sets out not only to show the death of Superman, but also to clarify his life as an alien exile of a lost and impossibly advanced culture. When Lex Luthor inherits Superman’s powers near the end of the story, and sees the world the way Superman sees it — across the entire electromagnetic spectrum — Luthor is humbled, and we realize in a moment how god-like and unusual Superman is even when compared to the world’s greatest (albeit evil) human intellect.
Moore is less concerned with Superman’s interior life — he has two issues to tell his story, and he fills them to the brim with the kind of funky Silver Age continuity that he so loved. In a subversive sort of way, Moore revels in all the little details that DC was so determined to clean-up and ret-con back in the 1980s, binging on robot monsters, time-traveling teenage Legionaries, flying dogs in capes, and superpowers for Jimmy Olsen and Lana Lang like a condemned man ordering his last meal. But there’s an undercurrent of darkness in all these appearances — Supergirl is bundled back to the future with her Legionnaire pals before she realizes she is dead in Superman’s era; Jimmy and Lana are killed by the Legion of Supervillains (who have traveled through time to witness Superman’s demise); even poor Krypto bites the dust after absorbing a fatal dose of radiation from the Kryptonite Man. Moore isn’t out just to kill off Superman — he has the innocence of the entire Silver Age of comics in his sites.
Moore tells a fast-paced and fun story (in a grim sort of way) but we don’t learn a lot about Superman, or see him meaningfully change in the crucible of his last days. Instead, Superman remains Superman, largely stoic as the people he loves are taken from him, even to the point of (seemingly) taking his own life in a chamber of gold Kryptonite, punishing himself for breaking his own code against killing after ending the murderous rampage of Mr. Mxyzptlk by tearing him in half with a Phantom Zone ray. But Moore stops short of total despair with a postscript that shows Superman is still alive, years later, married to his love in Lois Lane and father to a son with superpowers. Now living a boring human life, Superman is dismissive of his former identity, saying that Superman was too wrapped up in himself, and overrated, and wrong in his belief that the world couldn’t do without him.
There’s still a bit of sting in this ending (poor Lana and Jimmy and Krypto are still dead, after all), but Moore can be forgiven for wanting it both ways. He kicked for the nuts in these two issues, but this was a send-off for Superman, and even Alan Moore couldn’t bring himself to dance on the grave of the world’s greatest superhero. Moore also telegraphed his conclusion in the first words of his story, telling us it would end with a wink, and reminding the reader that this was an imaginary story (and “Aren’t they all?”)
Morrison’s tale, being part of a longer-form continuity all its own, feels the more consequential story. While Moore’s tale is told at a frenetic pace, Morrison and Quietly can indulge in strong action set-pieces that also serve to show how Superman might have squandered his powers were he a less noble character — his battle with the time-traveling Samson and Atlas show us how the world would suffer from Superman as a sophomoric meathead, while his later battle with Kryptonians who have remade the earth in their own image shows how Superman may have been a tyrant, had he so desired. Mostly, though, we see Superman as selfless, working to his last hour to save the earth and ultimately giving his life to save earth’s sun, achieving apotheosis as a literal sun god (a fitting end, given that Morrison views Superman as a sun god figure, as revealed in his book, Supergods).
Selfless as he is, Morrison’s Superman is also selfish, or at least self-centered. He reveals his identity to Lois Lane, and treats her to a romantic, superpowered birthday, but then kind of hangs her out to try — obsessed as he is with saving the world — refusing to commit to a deeper relationship because their biology is incompatible, and they could never have children. Children aren’t the only reason people come together — would it have killed Superman to marry the girl? — but maybe here we see more of Superman’s alien psychology, a hint that a great gulf separates Superman even from the human that he loves most of all. Interestingly, Moore’s Superman is equivalently foolish when it comes to love, revealing that he could never have a life with Lois because he was afraid to break Lana’s heart. Maybe Superman’s greatest enemy isn’t death so much as it is romantic relationships!
In All-Star Superman and “Whatever Happened To The Man Of Tomorrow” we have two entertaining comic book masterworks, by some of the most talented men in comics, both telling us their imaginary-but-not-really story of how Superman died. Both give us final and revisionist looks at the Superman mythos, and each story addresses Clark Kent’s relationship with the people he loves, and his enmities with the evil beings who have sought to destroy him.
Morrison’s tale tells us that the way Superman died was not so important as they way he lived, and he shows us how we never fully appreciated Superman while he was with us — and likely could never really understand him, owing to his alien psychology. Moore’s story is less interested in killing Superman than it is in killing the myth of the Silver Age of comics — a kind of prophetic, be-careful-what-you-wish-for warning from an author who saw more clearly than most that retroactively cleaning up the DC Universe through the contrivance of the Crisis on Infinite Earths would not serve to strengthen a great mythology so much as diminish it.
Neither tale is especially satisfying as a “death of Superman” story, but maybe a Superman death story is impossible. Moore’s Superman is unkillable because he is a figure of nostalgia, and even though Moore puts paid to the Silver Age in “Whatever Happened To The Man Of Tomorrow?” that nostalgia has only grown larger in this era of endless THIS-time-we’ll-get-it-right reboots of comics and superhero movies. Morrison’s Superman is just as impossible to kill, as Morrison makes Superman a figure of myth, setting him to twelve labors before turning him into a god of the sun, positioning Superman’s demise not as a death so much as a transformation into a benign and functionally immortal presence that remains ever apart from a mankind that could never truly claim him as their own.
In both stories the world seems able to carry on after Superman, the “last days of Superman” proving to be a new beginning — of the modern and less soulful era after the Silver Age of comics for Moore, and of an era where Morrison leaves mankind to puzzle out the mystery of Superman’s transfiguration, and to follow him if they can. Whether Superman brought superpowered chaos upon himself and upon the world through his mere existence is beyond the scope of these tales, but in every other area, these stores grapple with big ideas — setting out to tell the death of Superman, they instead affirm his immortality. In writing these death tales, Morrison and Moore show us that while you can kill a man, you can’t kill an idea, whether it be the wistful memory of a bygone era or the legendary tale of a hero who died for the greater good.
NEXT WEDNESDAY: #90 Red Sonja
Comic book heroes are usually rendered in an impossible physical ideal, but today’s superheroes go beyond Olympian physiques and into some crazy realm where even their muscles have muscles. Trying to pick the fittest and strongest amongst them is a mug’s game. Even Forbush Man looks like he’s been working out!
Manliness is something else entirely. You need a lot more than a square jaw and chiseled abs to join this particular club — you need a manly attitude, too. And since we’re talking comic books, we’re looking for exaggerated manliness, while stopping short of being — ahem — too manly. Stubbly chins, stogies, and gravelly voices all count for a lot. So does pimp style, womanizing, and a tendency to think with their fists.
It also helps to be kinda sorta a regular guy, or at least as regular as you can get while infused with gamma radiation, cosmic rays, or a super-soldier serum.
Who is the manliest superhero of them all? Joining me for today’s oh-so-serious nerd debate are Tom Mason, comic book scholar extraordinaire (and when he isn’t doing more important things, you can find him over at Comix 411). Also here is Chris Ulm, last seen at Longbox Graveyard as a part of my WonderCon panel, and also my co-host for the blog I did on Deathlok several weeks ago (and it occurs to me that Deathlok is pretty damn manly, too, but dead men are excluded from consideration).
(Both of these gentlemen will join me at my upcoming Comic-Con panel, so if you don’t like their choices below, c’mon by our panel and throw rotten fruit at them).
Our goal is to come up with a list of the ten manliest superheroes, but knowing these guys, it’s going to be a chore to stay on target …
PAUL: Who gets an honorable mention before we get to the list?
ULM: Aquaman might get my vote — the fact that he has the sheer swinging stones to show up riding a seahorse and spends his time talking to sea-spiders says a lot about his confidence — he obviously doesn’t give a crap what anyone thinks — not even Batman.
PAUL: Not Aquaman, no — not since he went sitcom on us. Plus he let his wife push him around during that family RV vacation. No one can be hectored by his spouse and make the list. That’s the reason Spider-Man doesn’t make it — Gwen Stacy, MJ, and Black Cat are the holy trinity of comic book girlfriends but Peter’s a mommas boy and he’s whipped.
TOM: Everyone knows Flash and Atom are whipped.
PAUL: Flash is SO whipped! I spent half a review column on Iris bugging Barry about being late and not the man Flash is and blah blah blah. It goes beyond the Lois Lane trope into some kind of power exchange fetish play.
TOM: Flash has never appealed to me because of this weird henpecked way they wrote him in the Silver Age. I like strong female characters, but they made Iris some kind of naggy harpy and turned Flash into a guy who was constantly fretting about getting in trouble. The whole recurring “Barry’s late again” with Iris standing in a doorway checking her watch is just too much. All those 60s DC editors, especially Weisinger and Schwartz, always put out comics with these bizarre male-female dynamics that seem mean-spirited and misogynistic and out of touch with reality.
And the Atom, the Ray Palmer one, is another weird 1960s domestic drama, with a guy who has the powers of a man but’s just six inches tall. I’m not buying it and no one else is.
ULM: Speaking of little guys, Ant Man has to go to bars explaining that he’s … Ant Man. And he STILL nailed the winsome Wasp. That’s MANLY. If he had manned up and just stayed Ant Man, he’d definitely get my vote. After all, he did create Ultron in his spare time. But since Henry Pym keeps changing his name like a giant pussy (“Oooh, check me out: I’m YELLOWJACKET! I’m GIANT-MAN now!”) he’s off my list.
plus, being a dick does NOT make you manly!
TOM: How about a lady’s man like The Spirit?
PAUL: The Spirit is interesting. Because of the femme fatales?
TOM: I think yeah because of the femme fatales. He’s got chicks falling all over him – most of them are evil and trying to kill him and he doesn’t catch on until it’s almost too late, but they keep a’coming. And he likes it. After fifteen beautiful women have tried to kill you, you might get suspicious of #16, but The Spirit welcomes her with open arms. That’s a special kind of guts, or the biggest lack of self-awareness for at least seven pages of every eight page story.
PAUL: By that criteria we’d have to include Daredevil. He notched up Black Widow, Electra, and pre-crackwhore Karen Page. Plus he holds his own with crap powers, and wears a costume only a blind guy would think is cool (and pulls it off).
TOM: What about Green Arrow? No powers, but he took stupid equipment and made it work. He’s got some manliness/sexist issues that often threaten to overwhelm him, but for awhile he had a love arrow for Black Canary.
PAUL: Good one, it crossed my mind, I suppose every case I make for Daredevil would apply here too.
TOM: Exactly. Plus, Green Arrow has very strong opinions about a lot of life issues and isn’t afraid to point his finger into anyone’s chest for emphasis. It takes a special kind of man to make an arrow with a boxing glove on it. Oliver Queen is always ready for a fight.
PAUL: All right, I’ll put The Spirit, Daredevil, and Green Arrow on the list at number ten. It’s my list and I can break the rules!
10) The Spirit, Daredevil, Green Arrow (half-mad chick magnets)
If stupid gear is going to score manly points, how about Guy Gardner? Moe haircut. Bad attitude. Jerkwad. But no way is anyone manly enough to pull of a Green Lantern costume.
TOM: Fawcett’s Capt. Marvel is like the Tim Tebow of super-heroes. He gets the job done, but he’s not going to clear out the biker bar in the middle of the night.
PAUL: How about that other big boy scout — Superman?
ULM: Superman technically should get credit for being manly because one can only imagine the damage a swarm of super-sperms could do to Metropolis. That alone should give him high standing in the manly sweepstakes. However, as an alien, technically he’s not a man, so forget it.
PAUL: Superman’s seemed a little limp to me since that Brandon Routh picture. I don’t much like Zack Snyder but if anyone is going to give Superman a testosterone injection, he’s the guy. Though I expect he’ll go all 300 and make Superman just a little … too manly.
TOM: Superman’s now this wistful nostalgic character content to sit atop tall buildings, smell flowers and pick out shapes in the clouds. He’s like Dr. Manhattan in the early parts of Watchmen. He’s like Xanax in a cape now. At least in the old days, Jimmy would turn himself into a giant turtle or Lois would throw herself out the window to make his life interesting.
ULM: Since you mention Jimmy …
PAUL: We didn’t. C’mon, I need someone for number nine.
TOM: How about Lobo?
PAUL: Never read Lobo. Whaddya think?
TOM: Lobo is technically some kind of alien freak biker badass. He doesn’t take crap from anyone and doesn’t fight fair. He’s manly in the same way that a Hell’s Angel is manly at 2am Sunday. He would totally own Burning Man and those people would follow him anywhere.
PAUL: I’d put him on the list but Ulm’s already disqualified Superman for being an alien. And if a motorcycle was enough to get you in I’d pick Ghost Rider. With that flaming skull head, he’s like a living tattoo on the back of a mass-murderer’s neck. Leather. Hotline to Satan. Charter member of the Legion of Monsters. Problem is that Nick Cage has played him twice and he’s also a charter member of the Champions, the lamest superhero team of all time.
TOM: How about Wildcat? My understanding is that he is/was a boxer. He’s got no super powers except brute strength and a mean right hook, so he’s a little like Batman in that regard (but without any gadgets). I’d say it’s manly for a guy to put on a cat costume to fight crime. That’s the nine lives of brass balls.
PAUL: Plus I think in one of DC’s innumerable reboots, Wildcat is the guy who taught Batman how to fight. OK, I don’t know if he belongs or not, but we’re not making a lot of headway so he goes on the list.
9) Wildcat (are YOU going to tell him he’s NOT manly?)
Wildcat seems like a regular guy, too. Like Ben Grimm. Ben’s got the stogie and you could drink beer with him and he’d pay. He’s got the New York street kid gang thing going on. Test pilot. He’s approachable but too much like your uncle to make the list.
ULM: The manliest super-hero is Thundra. You know she has penis, but maybe you’d still date her for the story …
PAUL: Sorry, you need to have a Y chromosome to make the list.
Thundra is NOT amused!
OK, since this is going nowhere fast I’m going to just start putting names on the list. Like … Black Panther. So, so cool. African king. Many wives. Pimp style and for awhile he was a hip hop guy (maybe still is). Downside: Token Avenger.
8) T’Challa (but you can call him Black Panther)
If pimp style counts, then we have to consider Sub-Mariner. Goes to work in his underwear (and when he doesn’t he wears the Pimp Suit and pulls it off). Perpetually pissed off. Royal blood. Has a giant octopus for his wingman. Fought Nazis AND the Japanese. Attacked New York a bunch of times. Downsides — Shares many of Aquaman’s negatives, he’s a Pretty Boy, plus couldn’t steal Sue Storm from Rubberman and he’s a fish. And if being a fish or an animal knocks you out, then there goes Howard the Duck, who has a stogie and no pants, but there was definitely something happening with Bev.
And it’s apropos of nothing, but I think we have to include Thor. Divine hammer. Muscles out to here. Can drink the whole mead hall under the table, got the whole viking thing going on. Downside: Cute little wings on the helmet and talks funny. Pretty. But I thought the movie last year did a decent job of making Thor seem like a regular guy, that he wouldn’t cockblock you or make you feel like a sidekick. He’s got those Warriors Three always hanging around and they don’t seem any worse for it.
7) Thor (long hair, thees and thous, but still manly)
I guess Gods are in, while aliens are out. Any other edge cases I’m forgetting?
ULM: What about Black Bolt? He is the ultimate version of the tall silent type. Apart from the occasional tear slowly crawling down his cheek, he keeps his lips zipped and only opens his mouth to destroy ancient Kree cities.
PAUL: Not sure I’d pick him over someone like Orion of the New Gods. He’s heir to the throne of a deathgod. Bad dad issues. Messed-up face and wants to fight everyone. But all the New Gods are kind of sissified — not as bad as Seraphim, but still …
How about someone more down-to-earth. Like Luke Cage! First, he’s Luke Cage! Should have been played by Samuel L. Jackson, but now he’s too old. Defends the ghetto and has a steel chain for a belt. Curses by saying “Christmas!” Downside: Curses by saying Christmas!
6) Luke Cage (Christmas!)
Who am I missing?
TOM: Judge Dredd?
PAUL: Dredd definitely, completely forgot about him. He’d in the running for #1 if he had even one lady on his dance card. His one-dimensionality holds him back, if you consider being the fifth manliest superhero being held back. He wears that helmet to bed, you know. Not sure if that helps or hinders his case.
5) Judge Dredd (he is the Law … which means no time for the ladies)
And if ladies are part of the equation, then you have to give it up for … Iron Man. Fought the Commies, and he’s a merchant of death.
ULM: Iron Man. Heart condition. Drinks. Smokes. Womanizes. Builds cool shit in his garage. Drives fast cars. Hangs out with thunder gods, super-soldiers and Nick Fury. Most importantly, Tony Stark has man-servants like Happy Hogan to do his taxes and drive him around to bang super-models. C’mon — is this really a contest? Think about what Bruce Wayne does in his spare time — obsess about crime and train young men to be his “ward.” NO CONTEST.
PAUL: Yeah, but there are some drawbacks, especially as he compares to Batman. Tony Stark and Bruce Wayne are a push on the millionaire playboy thing, but Batman scores points for working without a net. How manly do you have to be to take on bad guys in what is essentially the battlesuit version of an F-15? Plus, Batman has the stubble while Tony has that pencil-thin mustache. And he can’t hold his booze.
4) Iron Man (manly enough for this room)
But technology only gets you so far. Guts counts for more than gears, and Wolverine gets points for the stogie, the hair, the tortured past, and the chip on his shoulder — more than enough to make up for the showtunes thing.
3) Wolverine (despite the Hugh Jackman thing)
Keep the stubble and the attitude, remove the Canadian thing, and add a whole bunch more women and you get …
2) Batman (despite the Val Kilmer thing)
Man points up for the gravelly voice and stubble (when Jim Lee draws him at least). Major playa with disposable starlets and supervillainesses like Cat Woman. Put a bun in the oven with Talia al Ghul, and probably Talia Shire too. No real powers. Loses points for hanging out with Robin.
ULM: Really, all this stuff is just throwing you off the track. The real manliest man is JIMMY OLSEN. Yes, the alter ego of multiple super-heroes through the years including (but probably not limited to) Mr. Action, Giant Turtle Boy, Elastic Lad, Flamebird, Speed Demon, Insect Guy, Morbidly Obese guy, Gorilla, Viking guy, etc.
When not solving crimes in one of these guises, Jimmy has to always be on call and kowtow to a his “best friend,” a homoerotic alien fixated on a crazy woman desperately climbing the office ladder of a two-bit newspaper. Non-stop drama with no escape in sight. The fact that Jimmy Olsen is not swinging over a drain makes him, by far, the manliest super-hero in any universe.
PAUL: Sorry, Ulm, I’m not buying it. Maybe you could squeeze Jimmy in at number ten with that kind of logic but you missed your chance. We’re talking about numero uno now, and that means just one person …
1) Nick Fury (Agent of S.H.I.E.L.D.)
He’s number one and it’s not even close. Eye patch. Stubble. Stogie. Actually IS played by Samuel L. Jackson. No super powers but he’s still The Boss. Pretty sure he nailed Madame Hydra and he had that tragic lost love in the old Sgt. Fury comics.
played by Samuel L. Jackson AND the Hoff? THAT’S Manly!
TOM: Also, Nick fury has the Infinity Formula so he will live forever.
Nick’s got a special kind of manliness. He fought Hitler, founded a secret agency, built a secret base that hovers in the air, he gets to boss around the superheroes despite having no actual powers, and he carries a gun, even when he’s on his giant secret hovercraft base. I’ll say it again: He bosses around the Avengers, and they like it.
PAUL: Damn right they like it. And you know why? Because Nick is MANLY, that’s why, manlier even than Giant-Sized Man Thing!
And that’s the list! Thanks to Tom and Ulm for their wise contributions (notwithstanding the whole Jimmy Olsen bit).
Agree, disagree …? Sound off in the comments, below!
NEXT WEDNESDAY: #55 — The Amazing Spider-Man
LONGBOX GRAVEYARD TOP TEN LISTS
- Top Ten Instagram Superheroes
- Top Ten Superhero Lairs
- Top Ten Manliest Superheroes
- Top Ten Longbox Graveyard Articles (Year One!)
- Superhero Music Top Ten
- Top Single Issue Stories
- Top 1o Loves of Peter Parker (Part 1)
- Top 10 Loves of Peter Parker (Part 2)
- Top Ten Marvel Comics Characters
- Top Ten DC Comics Characters
- Top Ten Spider-Man Battles (Part I)
- Top Ten Spider-Man Battles (Part II)
- Top Ten Captain America Villains
- Spider-Man’s Bottom 10 Bronze Age Bums
- Top Ten Superhero Spoonerisms
- Top 5 Captain America Graphic Novels You Can Actually Buy (Sometimes), Read, And Enjoy!
Three senses-shattering news items for Longbox Graveyard readers in this week’s Longbox Bulletin!
Lois Lane gets the scoop — and so do you!
ITEM! Longbox Graveyard will be hosting a panel presentation at WonderCon!
While normally a San Francisco show, WonderCon is taking a one-year vacation to Disneyland while Moscone Center South undergoes renovation. Since this puts the show just up the freeway from me I will be attending — better yet, I will be presenting! My panel — Triumph of the Second Screen — is scheduled for Friday, 03/16/12, 4:30p.m. – 5:30p.m., in Room 208AB. We will be looking at some of the new and original intellectual properties coming out of the iPhone space, and while the panel primarily concerns the world of Apps (in my secret identity, I am a founding partner of iPhone publisher & developer Appy Entertainment), I hope any Longbox Graveyard readers attending the show will drop by and say hello. I plan to be at the show all day Friday and likely Saturday as well so there should plenty of time for us to get acquainted. Please attend my panel!
J. Jonah Jameson says get the story at Wondercon!
ITEM! Even if you can’t get out to WonderCon you can still hear the Voice of the Longbox thanks to the Stash My Comics Podcast!
Matt and Steve were kind enough to have me on the show so I could extoll the virtues of Silver Surfer #3! Click HERE to listen to the podcast … and leave the guys some feedback saying you’d like to hear more of my ravings in future podcasts so they will consent to have me back! And while you are over there, be sure to check out many articles and reviews at the Stash My Comics site, as well as the 100% free comics collection database service they provide!
Jimmy Olsen listens to Stash My Comics — and so should you!
ITEM! There’s a behind-the-scenes Longbox Graveyard interview over at Comic Book And Movie Reviews! My thanks to Jay for being a gracious host and giving yours truly the minor blogging celebrity treatment!
Mouse on over to Comic Book And Movie reviews to learn the sordid secret origin of Longbox Graveyard … then stick around to enjoy the cavalcade of news, views, and reviews on the site (which posts more content in a day than I can manage in a month).
Great Caesar’s Ghost, that’s a lot of content!
BONUS ITEM! And since we’re in a linking mood, let me close this Longbox Bulletin with a friendly plug for two of my favorite people.
Tom Mason is an old pal and long-time comic book collaborator, who has been kind enough to post some thoughtful comments here at Longbox Graveyard (his recent comments regarding the way Malibu comics structured their creator-friendly contracts are especially worth a read). Tom is funny, insightful, and a font of funnybook knowledge, and he frequently holds court over at Comix 411 — mouse on over and check out Tom’s column.
Last and NOT least, if you aren’t reading Mars Will Send No More, then you’re missing out on one of the most unique and eclectic corners of the comic book blogosphere. Whether he’s enthusing about dinosaurs, Jack Kirby, or cosmic heroes like Warlock, there’s always something interesting on the boil at Mars’ site, which features full-length comic book treasures from the Bronze Age era that I so esteem. Mars has been one of the earliest and most loyal supporters of Longbox Graveyard, and his site belongs in your reading rotation. Check him out today!
NEXT WEDNESDAY: #37 Panel Gallery: Steve Ditko’s Strange Faces
- This Brave Man is Selling His Entire Comics Collection, All 150 Longboxes [Video] (kotaku.com)
- The 10 Most Baffling Moments In Lois Lane And Superman’s Love Life [Daily 10] (io9.com)
- Longbox Graveyard Podcast: “A Tale of Two Pitches” (longboxgraveyard.com)
- #91 By Any Other Name: Sub-Mariner (longboxgraveyard.com)
- #88 Fire And Ice (longboxgraveyard.com)
- #92 Top Ten Spider-Man Battles (Part I) (longboxgraveyard.com)
- Longbox Graveyard Podcast: “Marvel Comics – A Space Odyssey” (longboxgraveyard.com)
- #90 Red Sonja (longboxgraveyard.com)
- When you stare into the longbox, it stares back at you (comicsbeat.com)