Superman hooks up with Wonder-woman

Superman and Wonder Woman, two of the mightiest heroes of the comics world, are about to become the ultimate power couple. The potentially earth-shattering romance follows DC Comics’ reboot taking them back to square one and erasing details, including the man in tight’s marriage to intrepid

reporter Lois Lane.

Writer Geoff Johns said that a significant event was set to send the Man of Steel and the Amazonian warrior into each other’s arms in the new comic Justice League #12, out on August 29, moving the duo “from super-powered colleagues to power couple”. The pair has dabbled romantically in the past, but Johns told Entertainment Weekly that the new relationship would not be a “one-issue stunt”, rather that “this is the new status quo”.

DC believes the link-up makes sense, because both characters “have huge hearts for mankind, yet also feel estranged from humanity”, and both — as well as being really good-looking — usually hide their secret selves from their civilian lovers. The new cover shows the two superheroes locking lips surrounded by Wonder Woman’s lasso of truth. According to artist Jim Lee, it was inspired by Gustav Klimt’s The Kiss and Alfred Eisenstaedt’s VJ Day in Times Square photograph. “Hopefully this will raise a lot of eyebrows,” Lee said.   

Will it affect the  movie reboot?
The change in direction is unlikely to affect the Superman film franchise which, like Spider-Man, is getting a Hollywood reboot. The film, Man of Steel, is due for release next summer with British actor Henry Cavill in the title role and Russell Crowe playing the role Marlon Brando played in 1978, Superman’s Kryptonian dad, Jor-El. Amy Adams plays Lois Lane. While a late addition of Wonder Woman to the film would be a surprise, there is talk of her finally getting her own new cinematic offering.


Power couple? 3 reasons Superman and Wonder Woman shouldn’t date

Superman and Wonder Woman (DC Comics)DC Comics

This week, DC Comics announced that Superman and Wonder Woman will officially become a couple in an upcoming issue of Justice League. Apparently, the universe-wide reboot of the “New 52? erased the feelings Clark Kent had for Lois Lane, giving the Man of Steel feet of clay for a certain Amazon Princess.

Well, this fanboy doesn’t like it. For over the last 70 years, writers have been able to keep the Lois and Clark dynamic a cornerstone to the characters’ development. Their relationship was strong enough to inspire a campy prime-time television show, the very show that launched the careers of Teri Hatcher and Dean Cain! With that kind of influence over pop culture, why mess with a good thing?

Fortunately for you, dear reader, this isn’t an aimless rant. I have three powerful points that prove why Superman and Wonder should stay Super Friends and nothing more. To wit:

1. Superman and Wonder Woman just aren’t compatible. Clark grew up on a farm in Kansas; Diana grew up on an island of Amazon Warriors. Now, before you spout off an opposites attract theory, I’m not saying they’re opposites at all. Despite these distinct origins, both heroes were raised to use their gifts responsibly, for the betterment of mankind. So, with these different backgrounds dividing them, yet their unspoken commitment to heroism binding them, what exactly would they talk about? At the end of the day, Superman and Wonder Woman share the interest of helping people, but Clark and Diana wouldn’t hang out in the same circles. It’s an identity crisis waiting to happen.

2. Superman’s and Wonder Woman’s love lives are most interesting when they’re attracted to normal human beings. Let’s face it: Kryptonite isn’t Superman’s greatest weakness. Lois Lane is. Her vulnerability, coupled with her propensity for getting into trouble, keeps Supes on his toes and makes his adventures that much more harrowing and entertaining to read. Now, when Parasite kidnaps Superman’s girlfriend, she’ll kick his butt and escape before Clark even finds a phone booth. Where’s the fun in that?

3. Their relationship is a conflict of interest for the Justice League. I’ve always looked at the Justice League as a Board of Directors for the global safety. It’s a volunteer position that sets and models a higher standard for the organization it oversees — in this case, Earth. If Superman and Wonder Woman are dating, how can the rest of the League trust their impartiality on matters of new membership or multiple-earth crisis? What standard does it set for mankind, when Superman and Wonder Woman model a behavior that condones putting your significant other in danger, over and over again? Even if they have developed feelings for each other, their respective senses of responsibility would overpower the urge to take things any further than infatuation.

Despite these arguments, I’m not opposed to the mere exploration of Superman and Wonder Woman’s romance. DC touts their flirtation in Justice League during the “New 52,” but their potential has been a persistent part of their interaction. I remember an incident some years ago when Wonder Woman offered herself to Superman while they were trapped in a vacuum of time; what an interesting dilemma for the Man of Steel! Yet, he held out for Lois, and his determination was worth it. See, just as I insist that Lois Lane is Superman’s greatest weakness, his love for her is also one of his greatest strengths, right up there with flight and ice breath. The years Clark waited for Lois to fall for him, not just Superman, and his eagerness to be with her despite the heartbreak that comes with her perpetual vulnerability makes him a hero anyone can understand.

Hey, DC Comics: You say comics aren’t for kids anymore, but Superman and Wonder Woman together “at last” is the wish fulfillment of any dweeb longing to be the high school quarterback hooking up with the head  cheerleader. It’s prom, and it’s fleeting. Clark Kent and Lois Lane together “at last” is a timeless romance that speaks to the rewarding risks of falling in love. That’s life, and that’s worth it.

Seventy years strong proves which one we’d rather read about. Which one would you rather write about?

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Superman-Wonder Woman romance rocks DC Comics

Superman has a new girlfriend, and she’s no mere mortal.

In a radical reboot of its venerable Superman narrative, DC Comics has scrapped the Man of Steel’s marriage to Lois Lane and given him a new love interest. And it’s a fellow superhero in her own right: Wonder Woman.

Story: DC do-over: Superman and friends start over from scratch

The new relationship between the comics icons is dramatized on the cover of Justice League #12, which goes on sale Aug. 29. The two superhumans are locked in a passionate embrace on the verge of a kiss, as rendered by renowned DC Comics artist (and co-publisher) Jim Lee.

And no, it’s not a dream: They’re not androids or alien imposters, and the story line is not a one-issue gimmick either. “This is the new status quo,’’ writer Geoff Johns told Entertainment Weekly.

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Superman and Wonder Woman will fall into one another’s arms as a result of a cataclysmic event that affects the Justice League, and the relationship will reverberate across DC’s entire landscape of villains and superheroes, Johns told EW. While the hero and heroine usually have to hide their alter egos from civilian significant others, now they can be themselves with one another.

Story: Gay characters take center stage in comic books

Johns and Lee know the Superman-Wonder Woman hookup may stir an uproar among hardcore fans, and they are perfectly fine with that. It’s hard to argue with their track records, given that Lee was part of the best-selling comic ever, an issue of X-Men that sold eight million copies in one month in 1991. As for Johns, he has written multiple New York Times best-selling graphic novels featuring icons like Green Lantern and Superman.

”Hopefully this will raise a lot of eyebrows,” Lee told EW. “We welcome the watercooler chatter.”

© 2012 MSNBC Interactive


‘Justice League’ #12: DC reveals Superman’s new leading lady… and it’s a …


Image Credit: Jim Lee

When DC Comics rebooted its entire line of superhero titles last year, the publisher did away with Superman’s marriage to Lois Lane to pave the way for a new romance. Without further ado, EW can exclusively reveal that Superman’s new partner in love is no mere mortal, but a superhero icon in her own right: None other than Wonder Woman. herself. Their next level relationship begins in the pages of Justice League click through to see the full cover!


Image Credit: Jim Lee


The comic, which goes on sale Aug. 29, culminates months of flirty foreshadowing. Writer Geoff Johns hints that some event — possibly tragic — will impact every member of the Justice League, and cause Superman and Wonder Woman to seek solace in each other and move from super-powered colleagues to power couple. This is no one-issue stunt: “This is the new status quo,” says Johns, adding that the relationship will have a seismic impact on all the heroes and villains in the DC universe.

For the smooch featured on the comic’s cover, artist Jim Lee took inspiration from Gustav Klimt’s The Kiss and Alfred Eisenstaedt’s V-J Day in Times Square photograph. The creative team believes the heroes are right for each other. She’s a mythic Amazonian warrior; he’s a veritable demigod. Both have huge hearts for mankind, yet also feel estranged from humanity. Relationships with civilians are tricky for caped crusaders, even liabilities. Usually, they choose to mask their full, true identities and hide their secret, high-risk do-gooding from their lovers to protect them. At least together, Superman and Wonder Woman can be themselves. Oh, and they’re also ridiculously good looking, too. Still, says Johns, expect the new couple to face some unique challenges in their own right.

This isn’t to say that fans will understand or support the hook-up. In fact, Johns and Lee expect some outcry and certainly some debate. Actually, they’re counting on it.  ”Hopefully this will raise a lot of eyebrows,” Lee says. “We welcome the watercooler chatter.”

Twitter: @EWDocJensen

Read more:
‘Justice League’ #11: Sneak Peek!
‘Justice League’ #10: Sneak Peek!
‘Man of Steel’ Comic-Con panel: Superman makes grand debut, Zack Snyder makes controversial claim


The evolution of superheroes

Tuesday, August 21, 2012


Digital Revolution Transforms Comic Books

LOS ANGELES  – From Superman to Batman, many Hollywood heroes started out in comic books. 

Creators of comic books say while the books themselves are not as popular as they were decades ago, comics are undergoing a technological revolution that many in the industry think will generate a new generation of readers.  

For the past 30 years, Golden Apple Comics in Los Angeles has been selling comic books to adults and children like eight-year-old Evan Cray.

“I just like holding the pages and reading it,” he says.

The look of those pages has not changed much over time, but Golden Apple owner Ryan Liebowitz says now, there is something new in the comic book business.

“In the last year or so we’ve seen a major transition into digital comic books,” he explains.

The idea of reading a comic book on a digital device is catching on worldwide.  Comixology has more than 25,000 titles in its online store, says Chip Mosher, the company’s vice president of marketing and business development.

“For the last six to nine months we’ve ranked as the top-grossing iPad app in the entire iTunes app store,” notes Mosher.

Business is booming.  For about the same price as a paper comic book, readers can get a digital version.  Last year, the company had $19 million in sales.  This year it expects sales to reach $70 million.

The new platform has many in the industry experimenting with the look of digital comics. 

“Things can change focus within a panel sort of to draw your eye from here to here,” explains Mark Waid, who created the digital comic site, Thrillbent.  He designs his work to fit the digital screen.
“Most screens – whether it’s a television screen, your laptop screen are that landscape format – they’re wider than they are tall.  So stop producing digital comics that don’t fit that format,” he says.

Daniel Burwen, founder of Cognito Comics, features sound and motion in his spy thriller/historical fiction work, Operation Ajax. Readers can get extra historical information outside of the story if they want to learn more. 

Burwen says the virtual world allows his work to reach readers worldwide.

“If we had done this as a printed book only we’d be lucky to sell 5,000 copies,” he notes. “Right there we have international distribution and we have the ability to reach a really vast audience.”

Creators of digital comics say many in that ‘really vast audience’ are looking for something other than violence, which seems to be the trend in comic books fueled by video games and movies.

“You could see the covers of these comic books, these don’t look like happy people,” says Golden Apple owner Ryan Liebowitz. “They all have guns, they’re all out to hurt each other.”

Liebowitz says the growing popularity of digital comics is helping his business.  He offers them on the store’s website, along with traditional comic books, and customers like Dan Cray are buying both.

“There are some comics, like my favorites, that I actually do prefer having a hard copy, ” Cray says, “but for a lot of them it’s just really convenient and really nice to be able to, I can read them on my iPad, it’s a really convenient format.”

Many in the industry say they hope the digital format will attract a new generation of comics readers, boosting business for both the virtual and real worlds.


Exhibit | Dayton Art Institute: Vibrant works illustrate comic-book ideals


Christopher A. Yates

For The Columbus Dispatch

Sunday August 19, 2012 5:47 AM

View Slideshow

Superhero memorabilia: coloring books and, above, a shaped cardboard cover for a 45-rpm record

It’s a bird! It’s a plane!

Oh, wait: It’s actually “You Are My Superhero”!

The two-part show at the Dayton Art Institute, curated by Associate Director Jane A. Black,
examines the power of the superhero myth and ethos on popular culture through memorabilia, rare
comic books and original art.From Zorro and the Lone Ranger to Batman and Captain America, the show
will appeal to anyone who has ever been thrilled by the adventures of a triumphant defender of good
versus evil.The show begins with Superman and the golden age of comics. Created by Jerry Siegel and
Joe Shuster, Superman was the first classic superhero. Making his debut in 1938, he has been
redrawn and re-imagined many times through the years. Classic comic covers such as Wayne Boring’s
Superman #53, July/Aug 1948 show him as invincible. Andy Warhol’s 1981 print
Superman (Myth Series) reveals him as a kind of phantom projection — perhaps the ultimate
manifestation of the culture of American exceptionalism.

Memorabilia abounds. Hero-specific display cases include Zorro, the Lone Ranger, Batman and the
Green Hornet. On view are toys, lunchboxes and almost every novelty product imaginable.

Throughout the exhibit, text panels provide context. From the Jungian theory of archetypes to
superhero symbols and powers, the show is richly documented. Special sections explore “standouts”
such as Spider-Man, Captain America and Plastic Man as well as “wannabes” such as Rocket Man,
Captain 3-D and Doll Man.

Although the vintage comics on display might trigger an impulse to renew the search for any
long-lost comic books you once treasured, original panels by artists such as Carmine Infantino
underscore the artistry of the medium as well as the nostalgia factor.

The second part of the exhibit examines perceptions of the superhero through the work of artist
Mark Newport and syndicated cartoonist Mike Peters.

Newport challenges viewers to consider what constitutes a superpower and how perceived gender
roles often confuse understanding. Using traditional knitting and embroidery techniques, he
fashions ornate superhero costumes and curious embroidery samplers.

The small samplers are directly applied over existing comic-book pages. Pieces such as
Sampler Spiderman Mask and
Sampler Batman #700 function as meditations on the confusing problem of superheroes
seeming both benevolent and malevolent.

And a superhero, of course, is nothing without a flashy costume.

Newport’s full-body sweater suits are both ridiculous and extremely cool, providing a chance to
adopt a persona of both power and defense.

Each suit speaks to a different character:
Sweaterman #6 resembles Batman;
Sweaterman #7, Wolverine; and
Sweaterman #8, the Green Lantern.

The cartoons of Peters, who is based in Dayton, satirize a wide swath of popular culture.

Featured in the exhibit are strips examining both superheroes and superpowers.

In one, Superman — in line at a bank-teller window — becomes dismayed when the teller blurts
out: “Sir, someone named Kent keeps using your credit card.”

In another, the X-Men confront the Y-Men. They whisper to themselves: “Those are Y-Men. . . .
They won’t do anything without a good reason.”

An entertaining and thought-provoking show, “You Are My Superhero” offers visitors a chance to
fantasize, laugh and dream.


Superman rights tale better than fiction: Judge to issue key decision in the …

A judge is about to issue a key decision in the battle over the rights to Superman, but the long legal tangle over the Man of Steel has created such a lore of its own that it often seems to trump the comicbook character’s own mythology. The rags-to-missed-riches story of co-creators Jerome Siegel and Joseph Shuster, and how they sold their creation in 1938 for $130, only to see it become a franchise that reaped perhaps billions, is legendary. What’s striking is the extent to which it pervades even the legal briefing as both sides makes their case to U.S. District Judge Otis Wright. One side’s greed is the other’s ingratitude. Wright is poised to decide whether to grant DC Comics summary judgment on its claim that the Shuster estate’s effort to reclaim copyrights to original Superman works are invalid. A provision of copyright law allows creators, and their families, under certain conditions, to reclaim copyrights that were granted long ago. The family of Siegel, who died in 1996, already won key rulings in 2008 and 2009 that gives it control over these early Superman works. But now DC claims that the Shuster family’s termination — his nephew, Mark Warren Peary, is executor of his estate — is not valid. It is set to take effect in October 2013, but DC cites a variety of reasons why it is invalid. Among them is a 1992 agreement it made with Shuster’s sister, Jean, and brother, Frank, that paid off Shuster’s “large unpaid debts” and provided them with survivor benefits. Legally, DC argues that the agreement released it from future claims and regranted it Shuster’s copyright interest, an “all-encompassing grant” that had the effect of superceding the Shusters’ termination right. Publicity-wise, DC makes the case that it has provided for the Shusters, giving them bonuses even when it didn’t have to. Represented by Dan Petrocelli, DC pulls no punches in claiming that it was at peace with the Shusters until Peary started exerting control over his mother’s affairs, retained attorney Marc Toberoff, and then filed a termination notice. DC paints Peary as opportunistic, as “Jean’s adult and jobless son,” a person who “rewrote” her will to make himself sole heir and then “appointed himself” executor of Shuster’s estate, and notes that he had once sought DC’s help in selling a script to Warner Bros. The estate rejects the argument that the 1992 pact invalidates the Shuster termination right, as it mentioned no such thing. Moreover, it claims that Shuster’s brother and sister could not have bargained away the termination right, as at the time it could only be passed to a spouse, child or grandchild in the event of a creator’s death. But from a PR standpoint, the Shuster estate has the power of a well-known narrative. As Toberoff sums up in a court filing: “While Superman appeared everywhere, from comics to radio, TV, films, and merchandise, his creators slipped into obscurity and poverty: Siegel’s last job was as a mail clerk, and Shuster worked intermittently as a messenger boy.” The 1992 agreement, the Shuster filing states, provided for only a “modest” pension increase. In the years since, “Frank and Jean struggled to get by. Requests for increases in their pension were denied, but periodic bonuses were granted.” It also faulted DC Comics and Warner Bros. for the bitter battle now at hand: After the Siegels recaptured their share of the copyrights, “DC replaced its general counsel and outside counsel, and retaliated by suing herein the Siegels, the Shusters and their longtime counsel, Mr. Toberoff,” the filing states. Whether the Siegel and Shuster narratives actually can influence a judge’s decision, on the merits, is another question, but the story behind the story is often not lost. The opinion written by Judge Stephen Larson in the Siegel side of the case reads like a history of the franchise — with illustrations. At stake is whether the Man of Steel will have two co-owners and where either will be able to exploit the character, subject to accounting, said Aaron Moss, partner at Greenberg Glusker. Next year, Warner Bros. is planning a release of a Superman reboot, “Man of Steel.” Until then, comic book gurus and legal eagles will have this story of copyright to captivate.

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Joe Kubert’s "War No More" War Comics – Losing a Living Legend

A living legend of comic books died last weekend.

Joe Kubert was the one of the most influential, prolific, long lasting and last of the greats of the founding generation of comic books. By all accounts he was also one of the nicest guys you’d ever want to meet, renowned for his firm handshake. His award winning career lasted from his early teens right up to his death at age 85 on August 12.

Among his many achievements as an extraordinarily skilled artist, Kubert most famously put a human face on war. The face was that of Sgt. Rock of Easy Co., in stories principally written by long time collaborator Robert Kanigher and published from the 1950s through the 1980s, for a time even outselling DC comics’ powerhouse superheroes Superman and Batman.

Kubert’s art etched the weariness of the war-weary into Rock’s face: a triangular face looking haggard and suggesting gauntness without quite getting there that narrowed down from his helmet, its strap undone and flapping, to a jutting jaw with a permanent stubble of beard and, most striking of all, the dark shadows of his recessed eyes.

In the bend of the shoulders and the slight buckle of the legs one felt the weight of what Rock carried: the grenades and ammunition belt that always hung on him, the rifle in his hands, and the responsibility for the lives of the men under his command. The powerful humanity of Sgt. Rock accounts for his popularity even at the height of the opposition to the Vietnam War. As an editor at DC during that time he inserted at the end of each war story the slogan “Make War No More.” “I wanted to make it clear that, despite the fact that I was editing war books, we were not glorifying war,” Kubert explained. I have him to thank for developing my ability to distinguish the war from the warrior when I think about our foreign policy and our troops in combat.

Kubert’s later graphic novels took up war and violence more seriously. Yossel: April 19, 1943 movingly illustrates what his life might have been like had he not escaped from his native Poland and ended up in the Warsaw ghetto during the Holocaust. His imaginatively similar Jew Gangster is Kubert’s version of what his life might have been like had he not escaped the poverty and crime of the Brooklyn neighborhood where he grew up. Fax from Sarajevo tells the story of the brutal siege of that Bosnian city through the lens of faxes sent out by a Muslim friend trapped there.

Kubert declares his motivation on the book’s front overleaf: “In 1945, we told the world, ‘Never again.’ In 1992, we forgot our promise.” Later he joined other comics greats Stan Lee and Neil Adams to create a short comics story as part of an international campaign to prod the Auschwitz Museum to return to Dina Gottliebova (Babbitt) drawings they had on display that she’d been forced to produce as a prisoner there. The fictional and factual streams of his work met when in the 2006 miniseries The Prophecy Rock and Easy Company finally directly encountered the Holocaust. When I asked him in an interview why it took so long he replied that back then there was a “tacit understanding” that such things were inappropriate for the comic book audience. Kubert worked to raise the intelligence level of comics, and was one of the first to produce graphic novels aimed at a more adult audience.

His most long lasting contributions may not yet have been felt. He was a great teacher; in 1976 he and his wife Muriel co-founded the Joe Kubert School of Cartoon and Graphic Art in Dover, New Jersey, the first accredited school dedicated entirely to “the art of cartoon graphics,” from which have come many of today’s leading comics artists. Among the graduates are Kubert’s sons Adam and Andy, now both well respected comics artists in their own right.

After Sgt. Rock, Kubert is most associated with the characters of Hawkman, whom he first drew in his original 40s incarnation and then in his 60s revival, Tarzan, and Tor, a prehistoric hunter of his own creation. Among the most sparsely clothed comic heroes (well, among the men anyway) they all allowed Kubert to showcase his remarkable ability to imbue the human body with great grace and power.

The extraordinary fluidity and economy of Kubert’s line allowed him to condense the energy of action into subtle fluctuations of the body in motion, capturing the precise moment at which the action’s about to kick into high gear. He was comics’ most sought after cover artist because that’s precisely what would draw viewers in, the heightened sense of anticipation he created pointing forward to what’s going to happen next.

That’s part of the great loss here. There’ll be no more next.

This essay draws on Harry Brod’s Superman is Jewish?: How Comic Book Superheroes Came to Serve Truth, Justice and the Jewish-American Way, to be published in November by Free Press.


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