Category: DC’s Hardcovers & Trade Paperbacks

Written by Geoff Johns

Art by Gary Frank; Jon Sibal; Brad Anderson; & Steve Wands

Cover Art by Gary Frank & Brad Anderson

SUMMARY:

In 2018, this 224-page DC Comics compilation again re-released the six-issue 2009-2010 mini-series. 

Told in episodic fashion, young Clark Kent and his adoptive parents in Smallville learn of his extraterrestrial origins after Clark’s super-powers become difficult to conceal.  A teenage Superboy visits the far, far future courtesy of three familiar Legionnaires, who idolize him.  In the third installment, Clark Kent’s first day at The Daily Planet has him meet Lois Lane, Perry White, and Jimmy Olsen amidst a reunion with another ex-Smallvillian: Lex Luthor.  Superman’s heroics are tested by Luthor’s new pawns: the Parasite and Metallo.  Yet, could the Man of Steel become America’s Most Wanted after incurring the xenophobic wrath of Lois’ father: U.S. Army General Sam Lane? 

Note: This paperback’s first run was in 2011.  The title was also previously released in 2010 as a ‘deluxe edition’ hardcover.

REVIEW:

The art squad’s visuals (including the covers) are absolutely dynamite – this asset makes Superman: Secret Origin a must-have for Super-fans.  Courtesy of Gary Frank, one can visualize Christopher Reeve ‘starring’ in this updated origin tale that homages both the Silver Age and Reeve’s big-screen legacy as Superman.  Writer Geoff Johns blends elements from Superman’s more contemporary incarnations to present a familiar tale, with a requisite number of welcome twists.  Among them is spelling out how a cynical Metropolis transforms due to Superman’s presence vs. a city where Luthor is its self-appointed savior and reigning celebrity.  Admirably on his game, Johns establishes dramatic balance between a pathetic Parasite and John Corben’s ultra-belligerent Metallo as threats challenging a rookie Superman. 

The sole off-element is wonky continuity – specifically, the inclusion of Clark as Superboy.  Hence, Secret Origin muddles re: Superman was really the first Superboy (rather than his teenage clone or, even later, Lois & Clark’s young son).  It also doesn’t help that, conveniently, only Luthor connects the dots between Smallville’s Superboy and this Man of Steel he instantly despises.  Luthor’s deduction shouldn’t have been exclusive to him (and, presumably, Lana Lang).  Secret Origin’s weakness further extends to the Legion of Super-Heroes.  Yes, it’s another nice Silver Age nod (much like a off-screen cameo by Krypto), but Issue # 2 still diminishes the magic of Superman’s unexpected ‘debut’ in Metropolis.

Superman’s Secret Origin is a DC gem worthy of acclaim.  Its few scripting faults are minor enough.        

ADDITIONAL CONTENT:

There’s a two-page introduction from writer David S. Goyer (fawning over Johns).  All the covers (and alternate covers) are reprinted in full-page format.  An unused cover image for Issue # 6 is included.  There’s brief bios on the creative team.     

BRIAN’S ODD MOON RATING:                 8 Stars

Writers & Artists Include John Byrne; Jerry Ordway; Roger Stern; Dan Jurgens; & Others

SUMMARY:

DC Comics released this 191-page compilation in 1994.  The cover art depicts actors Dean Cain & Teri Hatcher (as Clark Kent & Lois Lane) from the ABC TV series, which ran for eighty-eight episodes from 1993-97.  Yet, the book’s stories aren’t TV episode adaptations; instead, they’re nine reprints from 1986-1990. 

Amidst Superman’s mid-80’s makeover following DC Comics’ Crisis on Infinite Earths, writer-artist John Byrne produces the first five stories.  Byrne also supplies an introduction.  Other Superman regulars like Roger Stern, Jerry Ordway, and Dan Jurgens craft the remaining four tales, with artistic help from Glenn Whitmore and Albert De Guzman, among others.  Lois & Clark’s contents consists of:

• Page 4:             John Byrne’s Introduction.

• Page 7:             “The Story of the Century” (from Man of Steel # 2 – 1986).

Note: The 1986 Man of Steel # 1-6 mini-series heralded Byrne’s official re-vamping of Superman.

Writer & Penciller: John Byrne; Inker: Dick Giordano; Colorist: Tom Ziuko; & Letterer: John Costanza. Lois Lane is re-introduced; she doggedly pursues the first exclusive interview with the mysterious Superman, now patrolling Metropolis.  Told mostly from her point-of-view, Lois resorts to a damsel-in-distress ploy. 

• Page: 29   “Tears for Titano”(from Superman Annual # 1 – 1986)

Scripter/Co-Plotter: John Byrne; Penciller/Co-Plotter: Ron Frenz; Embellisher: Brett Breeding; Letterer: Albert De Guzman; & Colorist: Tom Ziuko. Lois’ compassion precipitates a clash between Superman and an endangered chimpanzee mutated by radiation from illicit medical research. 

• Page 67:   “Metropolis – 900 Mi” (from Superman # 9 – September 1987)

Story & Pencils: John Byrne; Inker: Karl Kesel; Colorist: Tom Ziuko; & Letterer: John Costanza. Toying with a married, small-town waitress, Luthor condescendingly propositions her that she spend a month with him for a million-dollar bribe.  Pre-dating the 1993 film Indecent Proposal, this short tale ponders the good-hearted wife’s dilemma of prostituting her dignity for the promise of instant wealth. 

• Page 74:  “The Name Game” (from Superman # 11 – November 1987)

Story & Pencils: John Byrne; Inker: Karl Kesel; Colorist: Tom Ziuko; & Letterer: John Costanza. Lois is smitten by suave Ben DeRoy (who curiously resembles Marvel’s Beyonder from its Secret Wars II mini-series).  Re-introducing Mr. Mxyzptlk, this quirky tale is a homage to his Silver Age antics. 

Note: Byrne goofs on a thought bubble.  On page 94, Lois tells herself how “after all these years,” Clark may finally be winning her affection.  Yet, Byrne’s revamp implies that Lois & Clark have only known each other for weeks or a few months.

• Page 96:  “Lois Lane” (from Action Comics # 600 – May 1988)

Plot & Script: John Byrne & Roger Stern; Inker: Jerry Ordway; Penciller: Kurt Schaffenberger; Colors: Petra Scotese; & Letterer: Bill Oakley. After single-handedly taking down a hoodlum gang, Lois is disheartened by rumors of Superman’s hook-up with Wonder Woman. 

Note: Byrne’s Lois again references her relationships with Clark and Superman going back “years,” so this tale is inconsistent with his own reboot. 

• Page 104: “Headhunter” (from Adventures of Superman # 445 – October 1988)

Writer/Penciller: Jerry Ordway; Inker: Dennis Janke; Colorist: Petra Scotese; & Letterer: Albert De Guzman. Jimmy probes the disappearances/subsequent homicides plaguing Metropolis’ homeless community.  Lois might pursue a relationship with wheelchair-bound Jose Delgado.  Superman returns to his Smallville bedroom struggling from a recent crisis of conscience.  When Brainiac returns (in Milton Fine’s human form), Jimmy and a drunken Cat risk a gruesome fate.    Note: Ordway throws in a sly Three Stooges reference. 

• Page 126  “Homeless for the Holidays” (from Adventures of Superman # 462 – January 1990)

Writer: Roger Stern; Penciller: Dan Jurgens; Inker: Art Thibert; Colorist: Glenn Whitmore; & Letterer: Albert De Guzman. At Christmas time, Clark is leaving for a new editorial post elsewhere.  Lex Luthor is held captive by Brainiac.  Clued into why The Daily Planet gang will miss him, Clark discovers that his colleague, Alice, is homeless and living in an office storeroom.  Perry inspires his staff to aid the homeless; Superman, helps out, as the Kents & Lana Lang make brief appearances.   

• Page 148  “The Limits of Power” (from Adventures of Superman # 466 – May 1990)

Story & Layouts: Dan Jurgens; Finisher: Dan Giordano; Colorist: Glenn Whitmore; & Letterer: Albert De Guzman. It’s a horrific spin re: what Marvel’s Fantastic Four might have been.  Superman confronts four irradiated astronauts seeking LexCorp technology to cure their terminal conditions.  Clark makes a decision re: his feelings for Lois.   

• Page 170:  “Survival” (from Action Comics # 655 – July 1990)

Writer: Roger Stern; Artists: Bob McLeod & Brett Breeding; Colorist: Glenn Whitmore; & Letterer: Bob Oakley. While Jimmy’s night out with Lucy Lane bombs, a worried Superman searches for a missing Lois.  She is busily staking out, commando-style, a dangerous arms merchant. 

REVIEW:

This compilation’s depiction of Lois & Clark is inconsistent (no surprise), as it hardly exudes Teri Hatcher & Dean Cain’s Generation X romanticism.  As the cover concedes, these stories merely helped inspire the TV series.  Still, is this book DC’s effort to cash in on Lois & Clark, or will readers get timeless insights into Clark/Superman and Lois? 

It’s really far more the former than the latter.  Readers get plenty of pages, but this joyride stumbles through inconsistent plot holes.  Primarily, even John Byrne has trouble adhering to the new status quo within his own reboot.  For that matter (at least, for this era), depicting Lois as a hard-edged commando capable of dispatching street thugs as easily as Batman makes little sense.      

As Byrne’s creative contributions are mostly consistent, his storytelling ages the best for this particular compilation.  Despite not igniting the Clark-Lois romance, his last scene for “The Name Game” is a rare reversal re: which one has inadvertently hurt the other’s feelings.  It adds welcome depth to Lois, in terms of deflating her usual self-involvement (prior to hooking up with Clark).  Similarly, the eyerolling “Lois Lane” is salvaged only by a wonderful Lois-Clark moment to finish up the tale.  It’s really Byrne’s closest approximation to Hatcher & Cain’s youthful charisma, which is so seldom glimpsed in this book.     

Unencumbered by Byrne’s reboot, the other six stories revert to Lois & Clark’s bland pre-Crisis on Infinite Earths dynamic. Despite good intentions, “Tears for Titano” and “Homeless for the Holidays” are heavy-handed message stories.  Between them, “Homeless” merits extra credit for demonstrating examples for aiding the homeless.  Dan Jurgens’ “The Limits of Power”  is intriguing, in spite of its derivative nature.  More significantly, Jurgens scores a major coup over Byrne for depicting Lois & Clark’s first significant kiss.  Jurgens, in that sense, generates this book’s don’t-miss gem.   

The artwork quality predictably varies, but it doesn’t descend into the awful range.  Of them, the best-illustrated are “Lois Lane” and, ironically, “Headhunter,” in spite of its grisly inferences.  Combined, these nine tales offer okay reading, but it’s a bait-and-switch for readers expecting a whimsical romantic comedy similar to the TV series.            

ADDITIONAL CONTENT:

There is Byrne’s insightful three-page introduction, as well as an appreciated table of contents.  What is inexplicably missing are the individual nine covers for these stories, making them seem incomplete.   

BRIAN’S ODD MOON RATING:                 5 Stars

Written by Edmond Hamilton; Bill Finger; Dave Wood; & Others

Art by Curt Swan; Stan Kaye; Dick Sprang; Charles Paris; & Others

Cover Art by Curt Swan; Stan Kaye; & Others

Compilation Cover Art by Win Mortimer; Dale Crain; & Drew Moore

SUMMARY:

Under its Showcase imprint, in 2007, DC Comics released this 552-page black-and-white compendium reprinting Superman # 76 (1952) and World’s Finest Comics # 71-111 (1954-1960).  Starting with the World’s Finest Duo’s first meeting, these historic tales recount their friendship in DC’s transition from its Golden Age to the Silver Age. 

While Robin makes this series really more like The World’s Finest Trio, Lois Lane frequently guest-stars.  Also occasionally on hand are Perry White, Commissioner Gordon, and the original Batwoman/Kathy Kane.  Among the foes that Superman & Batman is the first team-up between Lex Luthor and the Joker.  

Note: World’s Finest Comics concluded with Issue # 323 in 1986.  Approximately two decades later, DC Comics rebooted the series as Superman/Batman.

REVIEW:

Even in black-and-white, the vintage artwork holds up much better than the scripting.  At times, the writing becomes so stilted that it’s sleep-inducing.  Still, it’s cool to read the first Superman-and-Batman tale, though it’s hard to fathom that DC Comics wouldn’t have already acquainted them in a wartime Justice Society adventure.  Nonetheless, the first two tales benefit from a vintage Lois Lane, as she comes so close to deducing two secret identities – Superman & Batman must then go to convoluted lengths to thwart her snooping. 

After that, these tales sorely fail Lois (and Batwoman, too), as condescending chauvinism from the World’s Finest gets old fast.  Aside from a supporting cast often reduced to formulaic caricatures, these dated stories are a form of treasure hunting — every once in a great while, one uncovers a minor gem after sufficient digging.  Suitable for both old school fans and undemanding young readers, this compilation’s best asset is its admirable production quality.    

ADDITIONAL CONTENT:

There’s a helpful table of contents (including credits).  The covers are reprinted in a full-page format.

BRIAN’S ODD MOON RATING:                  5 Stars

Written by Kurt Busiek and Art by Stuart Immonen & Todd Klein

SUMMARY:

Released in 2016, this 224-page hardcover edition reprints the 2004 four-issue DC Comics mini-series imagining a ‘realistic’ Superman. 

Inspired by Earth-Prime’s Superboy of the mid-1980’s, author Kurt Busiek conjures up an ordinary Earth where the Man of Steel exists only in comic books … or does he?  A young, reclusive Clark Kent (who is predictably embarrassed by his famous name) grows up in rural Kansas.  And it just so happens that this Clark, ironically, even resembles his comic book counterpart.  One day, Clark discovers that he, too, mysteriously has Superman-like powers.  In subsequent years, an angel-like urban legend performs miracles away from the media spotlight.  In New York City, young freelance writer Clark meets a woman named Lois, who forever changes his life.  Just suppose, if you will … this Clark’s life poignantly unfolds before readers’ eyes. 

Note: Eerily, the adult Clark resembles Brandon Routh of 2006’s Superman Returns.  In a few instances, Clark vaguely resembles Jason Bateman. As for this Lois, it’s easy to visualize Priyanka Chopra Jonas.  

REVIEW:

Demonstrating perfect timing, Kurt Busiek opted to reboot DC’s Earth-Prime, as the Smallville TV series was steadily climbing in popularity.  Peripherally, Secret Identity resembles Smallville, but Busiek diverges on some key points.  Even extracting the super-villains; Metropolis, “The Daily Planet,” and other franchise elements, Busiek portrays an everyday reality where this Superman is challenged.  That is — natural disasters, secret governmental conspiracies, and daily threats to Clark’s secret forces him to pursue greater lengths to protect his family.  Busiek and the stellar art team periodically insert Golden Age and Silver Age images of Superman to cleverly parallel this Clark’s evolution. 

By pacing Clark’s life in real time, it’s one of many laudable choices the creative team makes for this project.  Another is making their Lois not a feisty journalist, but instead a charming Indian-born environmental designer.  Her simmering annoyance at meeting yet another ‘Clark’ (courtesy of pranking friends) is spot-on.  Secret Identity’s Lois Chaudhari quickly becomes a welcome addition to this storyline.   Case in point: an amusingly subtle hint-hint later on involves a ‘Superman Family’  birthday card … the fact that Lois must spell out to her befuddled husband its real meaning is one of the book’s wonderful moments.

Busiek’s thoughtful dialogue conveys that he carefully sculpted his characters’ personalities and motivations.  There is a tense sequence, for instance, between Superman and Malloy (his X Files-like government handler) that foreshadows the 2013 Man of Steel where U.S. federal agents fear Henry Cavill’s Superman as a legitimate threat.  The concept speaks to how might the world really view Superman: is he is Earth’s self-appointed guardian angel, or is he really the equivalent of a ticking nuclear bomb?  Busiek’s alternative explanation for Superman’s powers is ingenious — suffice to say, this Superman doesn’t come from far-off Krypton.   

As for deeming this hardcover a deluxe edition, that notion is doubtful.  The production quality is admirable, but, in this instance, “deluxe” is an industry euphemism for an over-priced reprint.  Even so, Secret Identity is for mature readers, as there’s a few kid-unfriendly scenes.  Fans will appreciate that Busiek’s atmospheric scripting far surpasses an average Superman comic.  Enhanced by Todd Klein’s lettering, Stuart Immonen’s subdued, painting-like artwork even transforms Busiek’s tale into a top-caliber DC Elseworlds (without labeling it as one).  Secret Identity is a Superman for grown-ups, who don’t necessarily have to be super-hero fans. 

ADDITIONAL CONTENT:

Replicas of the covers are included.  Busiek’s insightful three-page afterword entitled “Secret Origins” is superb.  The final page has biographical synopses on Busiek, Immonen, and Klein.

BRIAN’S ODD MOON RATING:                    9 Stars

Writer/Artist/Letterer: John Byrne & Colors by Trish Mulvihill

SUMMARY:

Released by DC Comics in 2003, this 200-page collection reprints the four-issue Elseworlds sequel mini-series from 2001. 

Again aging the iconic characters in real time, writer-artist John Byrne depicts Superman & Batman’s evolving lives at eleven-year intervals between 1942 and 2019.  Byrne ups the ante by adding Wonder Woman, the Flash, Green Lantern, and other familiar faces in exchange for the World’s Finest Duo’s decreased screen time.  Per his foreword, Byrne deliberately inserts contradictions to mirror the comics industry’s tendency to tweak established backstories.  Hence, a few dropped hints justify yet another ‘first’ meeting of Clark Kent and Bruce Wayne — this time, it’s approximately 1918.      

1942 (Battlefields): The Man of Steel backs up the JSA and the Blackhawks amidst World War II.  In Gotham City, with Batman missing in action, Lois Lane & Robin face jeopardy from Lex Luthor’s forces.  On Paradise Island, Wonder Woman’s worldwide debut is imminent.     

1953 (Absent Friends): Batman and the JSA worry that a long-missing James Gordon’s return hints at an ominous mystery.  In deep space, Superman meets a familiar Green Lantern.  At a Metropolis hospital, Lois Lane-Kent gives birth to their second child.  Simultaneously, tragedy strikes Wonder Woman’s famiily, as she gives birth to her own half-mortal daughter.   

1964 (Children’s Hour): The current Batman (Dick Grayson) hooks up with Barbara Gordon’s Batgirl.  A potential squad of Teen Titans first unite against the combined villainy of Gorilla Grodd, Mirror Master, and Weather Wizard.

1975 (Troubled Souls): Batman & Supergirl recruit Deadman and Dr. Occult to help put an old friend’s ghost at peace.  An aging Hal Jordan makes a life-changing decision.

1986 (To Hunt the Hunter): Superman finally locates a fugitive Lex Luthor (or does he?).  Including the current Wonder Woman and a new Flash, a short-handed Justice League confronts a renegade Batman.

1997 (Turning Points): Will there be a fourth Batman?  Meanwhile, Sinestro overwhelms the Justice League, which sets up a climatic showdown at the White House. 

2008 (This Ancient Evil): The Justice League’s new Flash joins their fight vs. Metallo.  Knightwing keeps a long-standing romantic promise.  Two Batmen reunite with Mrs. Wayne.

2019 (Father to the Man): At the Fortress of Solitude, Superman and Knightwing reveal to Batman the full shocking truth behind Clark & Bruce’s first encounter a century before. 

REVIEW:

Considering the difficulty factor mustering so many characters, kudos must go to Byrne and his colorist, Trish Mulvihill for a generally satisfying effort.  Yet, this multi-part sequel suffers from too much of a good thing. 

In terms of further detailing the first Generations, Byrne’s work is admirable.  Case in point: Barbara Gordon’s progression beyond Batgirl; a version of the Silver Age Teen Titans; Hal Jordan’s destiny, etc.  As for some other relevant answers (i.e. whatever happens to Diana Prince-Trevor’s Wonder Woman), evidently one must wait for Generations III.  Hence, this book isn’t a conclusive read, especially as a pivotal 2008 sequence is deliberately cut short (to be finished in the next mini-series).

Up through the 1975 segment, Generations 2 is easily enjoyable without prior knowledge of the first book.  Both the 1942 opener and a delightful Teen Titans adventure are worthy highlights.  However, it should be noted that a 1964 scene implying sexual intercourse and a brief 1986 glimpse reminding readers of Supergirl’s grisly fate likely precludes this book from pre-teens.  To Byrne’s credit, he refrains from gore or other gratuitous displays in Generations 2.

In its second half, though, Generations 2 becomes far more convoluted due to its surplus of new characters. For instance, so many Flashes may prove hard to keep track of, so the ‘roll call’ Byrne provides at the book’s end comes in handy.  Still, Generations 2’s entertainment value doesn’t bog down too much.  It’s really more of a matter if readers actually want to see more third-generation heroes, like Knightwing, for instance.  Byrne assumes one does, that is judging by the last three segments, so it’s something to keep in mind. 

Finally, though some purists may dislike it, the 2019 segment poignantly takes a revisionist approach to Batman’s origin that is worth checking out.  At the very least, it’s an effective wrap-up for Generations 2.  This sequel isn’t nearly as intriguing as its more tightly-focused predecessor, but fans should like Byrne’s sequel.  

ADDITIONAL CONTENT:

Unlike the previous volume’s lack of extras, Generations 2 goes the distance.  Byrne’s one-page June 2001 foreword offers some appreciated insights re: both books.  A helpful ‘role call’ page lists all of this sequel’s heroes.  Each of Byrne’s four Generations 2 covers are printed in a full-page format to conclude this book.       

BRIAN’S ODD MOON RATING:                  6½ Stars

Note: Byrne’s first Generations is available in trade paperback form, but, as of this writing, his 12-part Generations III mini-series remains uncollected in this format.