During the “DC Meet the Publishers” panel at New York Comic Con today, representatives from DC Comics indicated that the company is looking into making Superman stories based off George Reeves‘s take on the character. Reeves, not related to fellow Superman actor Christopher Reeve, was the first actor to have the pleasure of portraying the iconic man of steel for the Adventures of Superman tv show in the 1950s.
Reeves was, for many early fans, the version of Superman they knew best. Partially because he did it first, of course, but also because the series was in syndication through the 70s as well. Hell, you might even recognize the opening.
And with the success of the 60s Batman series during the New 52 era, getting a 1950s Superman comic would not be much of a surprise for your average DC comic fan.
While DC was certainly enthusiastic about making Superman comics off the George Reeves era, the trouble they’ve had so far is assembling a creative team. They need to find the right people for the job, and so far, they haven’t had any luck.
Its possible we could see the series sometime in the near future, but as of now, it seems more of a vague concept than anything particularly concrete.
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Of course, the character and his story — the arrival from another planet, his dual identities as mild-mannered reporter and flying, bulletproof crime fighter — would go on to change the comics industry in several ways and pave the way for the super-heroization of our popular culture.
But Siegel and Shuster originally just wanted to make a little income to support themselves and their families, who had both immigrated from Eastern Europe not long before. They had bonded and began collaborating in high school in Cleveland, and although they were ambitious, they could not have conceived of how influential and popular the character would become. Sadly, they signed over the rights to the Man of Steel early on, dooming themselves to careers full of frustration and misfortune.
The story of these two Jewish comic book legends — Shuster the quiet, reserved artist, and Siegel the earnest, competitive writer — is dramatic and heartbreaking in its own right, and it’s now chronicled in a graphic novel titled “The Joe Shuster Story: The Artist Behind Superman,” written by Julian Voloj and exquisitely illustrated by Thomas Campi. (Voloj, who is Jewish, is also the author of the graphic novel “Ghetto Brother: Warrior to Peacemaker,” a Jewish and Puerto Rican gang leader in the Bronx.)
JTA spoke with Voloj about the project and Jewish comic book history just before New York Comic Con, which starts Thursday. (Voloj’s wife, Lisa Keys, is an editor with 70 Faces Media, JTA’s parent company.)
This interview has been edited and condensed for clarity.
So Jerry and Joe are both nerdy outsiders, and that’s how they meet at school. But was their shared Jewish immigrant background also a big part of their coming together? As in, they weren’t just nerds, they also weren’t as assimilated as the other kids?
Voloj: They definitely shared a very similar identity, both born to Eastern European Jewish immigrants — Jerry in Cleveland, Joe in Toronto — but their identity was also the identity of Glenville, the neighborhood they grew up in.
In the 1920s and ’30s, the Cleveland neighborhood was like New York’s Bronx during that time. All their neighbors were Jewish, they were surrounded by dozens of synagogues, kosher groceries, etc. If you look at their high school yearbook, nearly every student seems to have a Jewish name. Even if they were from more assimilated backgrounds, they grew up in a very Jewish environment, so without a doubt, Superman has Jewish roots.
Jewish identity in America before and after World War II is a recurring theme in the story, but it also feels like 99 percent of the characters in the book are Jewish (from the businessmen to other artists like Stan Lee and so on). Could you give an idea of how Jewish the comic book industry was throughout those early decades and why that might have been?
It’s a history with many parallels to the beginning of the American film industry. Jews were discriminated against on the job market. If you were a writer or illustrator, not many jobs were available if you could be identified as Jewish. Some Jews changed their name and hid their identity in order to seek employment. Jewish artists such as Jakob Kurtzberg or Stanley Lieber became Jack Kirby and Stan Lee [respectively], even if they often claimed that their name change had nothing to do with them trying to hide their Jewish background.
When, thanks to Superman, comics became a lucrative industry, job recruitment in this new market happened by word-of-mouth. Friends and family were hired. That’s why, for instance, many comic book pioneers came from even the same high school, such as DeWitt Clinton in the Bronx, where pioneers such as Will Eisner, Stan Lee or Bill Finger, to name but a few, had been students.
Given that also the publishers were Jewish … I think Siegel and Shuster didn’t imagine that they would, as fellow Jews, screw them over. Here, by the way, is an interesting parallel to the garment industry, where factory owners exploited workers even though both came from the same shtetl backgrounds.
Shuster’s Jewish heritage is referenced throughout the book. (Super Genius)
Was it an easy decision to tell the story from Joe’s perspective? Was it solely because he’s just a more likable character than Jerry was?
When starting my research, the plan was to write about both of them from a third-person perspective, but then Joe became the protagonist by chance. In 2014, I learned that Columbia University had just received a donation of letters and documents that were either written or once belonged to Joe Shuster. I contacted Karen Green, who oversees Columbia’s comic collection, and even before the documents were cataloged, I got access to these letters, legal papers, bills, etc.
It was fascinating to read about Joe’s problems in his own words. Most of the documents were from the late 1960s, during a time when [he was under] the threat of eviction, had doctor bills piling up, etc. — while at the same time preparations were made for a multimillion-dollar Superman movie.
It also became apparent how Jewish he was. For instance, he wrote about the tzedakah he gave during the good years and how ashamed he felt that now he needed help from the Jewish community to pay his own bills.
Jerry had always been the dominant figure of the creative duo, with Joe being the silent partner following his lead.
Making him the narrator puts, for the first time, the spotlight on him, a late recognition of his role in creating the first superhero.
Were there other Jewish comic book artists and writers who dealt with similar losses of rights to their creations? Batman co-creator Bill Finger seems to be one? Or were Shuster and Siegel really the worst case?
I’m not sure if it is really the worst case, but I would rather call it the original sin.
Many stated that Siegel and Shuster were naive to sign the first Superman contract, but as we show in the book, there was no precedent. Comics were not big business and most work was work-for-hire, transferring rights to publishers.
And then Superman changed everything. No one expected this success — neither the creators nor the publishers — and for sure no one expected the success to last.
Like Superman becoming the blueprint for the genre, Siegel and Shuster’s contract became the blueprint for other contracts.
Many pioneers experienced similar fates. Batman co-creator Bill Finger [who was Jewish], subject of a future graphic novel project I’m currently working on with the Israeli artist Erez Zadok, is another tragic story that only recently had a posthumous happy ending thanks to the efforts of comic historian Marc Tyler Nobleman.
And unfortunately, these stories are not necessarily stories of the past. Earlier this year I read about Bill Messner-Loebs who once worked for DC Comics and was even credited in the “Wonder Woman” movie, but now was homeless in Detroit.
People have called Superman, who is sent away from his home planet just before it is destroyed, as the ultimate immigrant character. Was this definitely part of Siegel’s thought process in creating him? And can Superman more specifically be compared to a Jewish refugee fleeing a burning Europe?
Superman’s Jewish identity is a recurrent theme. I once read that his origin story is an allegory to the Kindertransport, but this is, of course, a post-Holocaust analysis.
Both their parents escaped poverty and pogroms in Eastern Europe, so this could have influenced the story, which some see as a kind of modernized Moses tale.
I’m neutral when it comes to these interpretations. Superman’s origin story, which we see developing throughout the graphic novel, had many roots for sure, as did the plot. The double identity came from Zorro.
What made Superman a success was that Siegel and Shuster understood the zeitgeist, took elements from contemporary pop culture and created something totally new, something that even today, 80 years after its debut, remains a global success.
Turns out, should Krypton be believed, the story of how Superman’s homeworld eventually blew the hell up was way weirder than we ever knew. That’s thanks to the magic of time travel—and also the DC Entertainment show’s innate desire to throw any character it can into the mix. The latest attempt, Lobo, now has a face to the name: Emmett J. Scanlan.
DC has officially confirmed that Scanlan will be joining Krypton’s second season as Lobo, the Czarnian bounty hunter known for his extreeeeeeeeme approach to anything and everything. The actor previously appeared in the short-lived NBC Constantine show as another DC character, Detective Jim Corrigan, who was the host of the Spectre in the comics. Scanlan also had a small role in Guardians of the Galaxy.
Who knows just how and why Scanlan’s take on the Main Man himself is showing up on Krypton, other than for the headline “Comics Character You Know Will Be On Krypton.”Even DC’s announcement acknowledges that it’s undetermined just what version of Lobo viewers are going to see in Krypton season 2—the hard-edged villain or the more jokily amicable anti-hero he’s usually portrayed as these days. Given how frequently weird Krypton gets, though, it’s probably going to make its version of one of the most famous origin stories in comic books a hell of a lot more complicated than it probably has any right being.
SPOILER WARNING: The following article contains major spoilers for Action Comics #1003 by Brian Michael Bendis, Yanick Paquette and Nathan Fairbairn, on sale now!
Something happened that led us to lose our way. The moment can be pinpointed to the iconic 1986 miniseries by Frank Miller, The Dark Knight Returns. Over the course of four issues, Miller gave readers a version of Batman they had never seen. While one could argue the grizzled take on Bruce Wayne represented some natural progression of the character, his relationships with his former Justice League members was shaky. That went doubly for Superman, who was basically a government-sanctioned weapon of mass destruction in the series.
A brutal Batman and a militarized Superman are bold takes on the characters, and their existence helped redefine what comics could be in the mid-1980s (along with Watchmen). But for many fans and creators, the wrong lesson was taken away from The Dark Knight Returns.
This isn’t to say Miller’s work was not a landmark moment in comics. Quite the opposite, actually. The Dark Knight Returns is a brilliant deconstruction of the superhero mythos and was built to act as a final curtain call for one of the medium’s greatest protagonists. There’s poetry in each page, and the imagery from the miniseries is nothing short of legendary. Visions of Bruce Wayne atop a building with a rifle, or Batman powering his armored suit with the street lamp his parents were gunned down under are visually arresting and will live on for generations to come.
However, the story was not designed to be taken as gospel. Batman and Superman have had their squabbles over the years, but they are more than just teammates and colleagues — they’re friends. That’s something a lot of pop culture seems to have forgotten. Thankfully, Brian Michael Bendis gave us all a fun little reminder in Action Comics #1003.
The whole besties revelation started when reporter Robinson Goode unknowingly exposes the Man of Steel to Kryptonite (at his workplace no less). Luckily, his friends have his back. Batman swoops in to essentially mug Goode and relieve her of the rogue chunk of Kryptonite, which he keeps. Why does he feel like he’s the only one responsible enough to wield such a powerful deterrent? If the stuff hurts his best bud, why keep it? Well, the little jab Batman gives Superman about turning it into a friendship memento should tell you everything you need to know about their relationship.
There has always been a mutual admiration between Superman and Batman, but with that admiration comes a certain level of jealousy. Batman views Superman as the perfect example of what it means to be human. Kal-El is an alien with god-like abilities, yet instead of succumbing to darker impulses he strives to be like us. This god wearing a Clark Kent mask is something almost unfathomable to even the greatest analytical mind.
On the other side of the coin is Superman’s admiration for Bruce’s bravery. Batman isn’t invulnerable, and he possesses no unearthly powers. He’s just a man. A really damn rich man, but a man all the same. The power Batman does have, in terms of wealth and stature, he uses to fight an uphill battle. There’s a romantic (and somewhat psychotic) sentiment to this crusade that is undeniable. Even if the methodology these two titans employ when it comes to making the world a better place is wildly different, they want the same things. Through that mutual drive, there is admiration and friendship.
Filmmaker and comic book guru Kevin Smith has some left field nominations for younger versions of Superman and Batman on the big screen — including Black Panther star Michael B. Jordan and Avengers star Chris Hemsworth.
Asked who he’d like to see step into the iconic roles in a recent episode of Fatman Beyond, Smith pointed to Jon Hamm for Batman, noting the Mad Men star has expressed repeat interest in the role should Ben Affleck step away. Smith said he’d perform a sex act to “make that happen,” adding “I want to see that.”
“You know who I love for Superman? There’s this kid, I don’t know if you’ve seen him before, Henry Cavill,” added Fatman Beyond co-host Marc Bernardin of the possibly half-out-the-door Superman star. “I really think he’s f— got something.”
Smith backed Jordan for Superman after the Fant4stic and Black Panther star emerged as one of the actors studio Warner Bros. is reportedly eyeing for its next Man of Steel should Cavill leave the role.
“I’ll be honest with you, when they said Michael B. Jordan the other day, I was like, ‘Yes, do it, do it.’ And that’s not even a new, like, f— progressive idea,” Smith said.
The once screenwriter of the never-made Superman Lives that would have been steered by Batman director Tim Burton, Smith noted Suicide Squad star Will Smith was once considered for taking over the role most famously filled by Christopher Reeve.
“When I was working on Superman in 1996, Will Smith was floated as Superman. And I was like, ‘Oh my God, f— do it,’” Smith said. “And to be fair, that came from [producer] Jon Peters. Jon Peters was like, ‘Will Smith should play this role.’”
When an audience member called out for Smith playing Jor-El, father to Jordan’s Kal-El, Smith grew visibly excited.
“Will Smith as Jor-El if Michael B. Jordan plays f— Superman? Can I come see your movie, sir?” Smith beamed. “Oh my God, what a great idea.”
For a younger Dark Knight — who is said to be the central focus of Matt Reeves’ in-the-works The Batman — Smith named Blade Runner 2049 and First Man star Ryan Gosling, who told Variety in recent weeks he’s doubtful he’d be suited for the role.
“I love Ryan Gosling, so I’d watch him in anything. But I don’t know if I’d rather see him be Bruce Wayne-slash-Batman, or like, the Joker,” Smith said. “He’s a real good actor, he might take that role and f— run with it and do something else.”
In searching for the next Batman, “I don’t know if you want to take the world’s greatest actor and put them into that role where half the time it’s a stuntman anyway, so you just have to find somebody — it doesn’t have to be the world’s greatest, but it has to be somebody charismatic, somebody who can carry the costume and cape and stuff, and younger.”
While mulling it over, Bernardin tapped Wonder Woman star Chris Pine for a blonde and charming Superman.
“You gotta be warm as sh-t, right?” Smith said. “Like here — Chris Pratt seems like an ideal Superman, kinda. In terms of personality, seems like a big cuddly kid, likes everybody, and stuff like that.”
When another audience member called out for A Quiet Place and Jack Ryan star John Krasinski to tackle Superman, Smith enthusiastically embraced the suggestion.
“Krasinski is a great f— pull, man. Krasinski has like a Chris Reeve thing going on, excellent f— job,” Smith said. “Krasinski is a really good f— pull. And you let him direct that sh-t as well! But you make him put dialogue in it this time. That’s a really good idea.”
For a younger Bruce Wayne, Smith was stumped.
“I know they keep saying like Jake Gyllenhaal,” Smith said. “I’ve always liked him, but I don’t know if I’m just like, ‘oh, he’s got dark hair like Bruce Wayne.’”
After a lightbulb moment, Smith pointed to one of Marvel Studios’ biggest stars.
“Nobody’s gonna be like, ‘Oh my God! You’ve discovered him,’ and sh-t, but you know who’d make an awesome f— Bruce Wayne and Batman? Chris Hemsworth. He f— made Thor work,” Smith said.
“Just took a character where — in the comics I was never a Thor guy — and he made me f— fall in love with that character. And it was not right away. I think it was Avengers where I started to go, ‘this guy’s f— funny.’ Once they stopped making him be old Thor… I like this version, where he’s self aware and he can play into his charm and be funny.”
When Bernardin raised the idea of casting any actor, alive or dead, Smith quickly zeroed in on the late Robert Shaw, referencing the “intensity of his performance” in Black Sunday.
“If I get to cast Batman across time? A young Robert Shaw from A Man For All Seasons, the one who played a young Henry the VIII, as Bruce Wayne,” Smith said. “Robert Shaw is the guy who played Quint in Jaws, so imagine a younger version of him as a driven Bruce Wayne. I would cast him. That was one of my favorite performances of all time, him in Jaws, but his entire career is really worth watching.”
Shaw was “a guy who could totally be a really gripping Batman,” he added.
For Superman, Bernardin picked a mustached Burt Reynolds and The Man With No Name era Clint Eastwood for Batman. “Or maybe Charles Bronson,” Bernardin said. “I think Bronson could do a really good Bruce Wayne.”
“This ain’t gonna be a popular call, but Tom Cruise circa A Few Good Men,” Smith said of his ideal past Superman.
“He has the kind of like ‘aw, shucks,’ and glint in his eye. He reminds me of Curt Swan Superman. The Curt Swan Superman in comics would periodically — at the end of a book or the end of an adventure — literally look at the viewer as if he was looking down the barrel of a camera and wink, so Tom Cruise could kind of pull that off.”
Warner Bros. has yet to stake a release date for the Reeves-directed The Batman or a future Man of Steel followup.
Jace and Adam From Talking Superman, break down issue #1003 of Action Comics. Do we get answers to where Lois Lane has been? How about more information and just who Ms Goode is and what shes up to? We may not get all the answers we are looking for, but batman chows up so it’s all good!
Action Comics #1003
Writer – Brian Michael Bendis, Artist – Yanick Paquette, Colorist – Nathan Fairbairn, Letterer – Josh Reed
Knowledge Waits is a feature where I just share some bit of comic book history that interests me.
In a recent article, I wrote about how Captain America’s scale mail on his costume had slowly been depicted differently over the years to the point where it was effectively non-existent during most of the 1990s. Reader John W. wrote to me about how I made reference in that article about how the evolution of Captain America’s scale mail was similar to the evolution of the costumes of both Superman and Batman, specifically in regards to Superman’s S and Batman’s fins. John wanted to know if I had written articles ABOUT those evolutions and, if I had not, then could I? And well, sure, why not?
Today we’ll look at how Superman’s S changed over the years and tomorrow we’ll look at the much briefer (but perhaps odder) evolution of Batman’s fins.
First off, the answer to pretty much every example in the history of comic books when the question is “Why did this artist drew that thing differently than that other artist?” is that there were no specific standards put in place so that nobody was held to any one design for the S. I’m not talking other artists not knowing how to draw the S the same way that Joe Shuster drew the S, I’m saying that even JOE SHUSTER wasn’t consistent in how the S was depicted!
Here is the first time that we get to see Superman bearing the S on his chest. Hint, it is also his first appearance…
Note that Shuster has Superman basically rocking a ornate shield-looking background for the rather simple S on his chest.
The early issues are interesting because Shuster was not exactly the most detailed artists in the world and so for the next few issues, it was unclear exactly what he was intending to draw at times. Heck, there were moments where it looked like it was a SQUARE on his chest. Really, though, it was just Shuster drawing a hint of a cover symbol.
Six issues after Superman’s debut, when Superman returned to the covers of Action Comics for the first time since #1 (yes, they seriously took MONTHS to give him a shot at the cover again), Shuster had refined the look to a basic triangle look with a simple S in it…
That’s basically the look of the S when Superman got his own solo series in 1939…
Here’s where the big changes happened. You see, Superman was HUGE now and so he was appearing in Action Comics, he had his own newspaper comic strip AND he had his own solo series with multiple stories in every issue. It was one thing for Jerry Siegel to come up with stories for all of these stories, but there was no way that Joe Shuster could draw it all, so they began to hire more and more artists to draw the character under Shuster’s name.
These artists had an astonishing amount of freedom to define the character in their own way.
The most influential of these early artists was Paul Cassidy, who was the artist who came up with the BASIC design that we would come to know as Superman’s classic S symbol. Here he is in Superman #4…
However, the next issue would refine the Cassidy design to the point where DC literally would trademark this guy’s take on the S…
“If you write stuff, if you draw stuff put it online, sooner or later you may get somebody in whatever field you are interested in to take a look at it,” Thomas said. “Put yourself out there and give it a try and if you don’t that is okay to. I can imagine 4,000 worse things than having gone through my life here in Jackson, Missouri teaching here and doing something like that.”
Bendis’ first successes, on Spider-Man and Daredevil, hit just as comics were climbing out of the malaise of the ’90s, while Tom King’s co-writer stint on Grayson put him on the map in the comparatively young year of 2014. Bendis’ work on the Avengers and his invention of Jessica Jones and Miles Morales has defined Marvel Comics to the wider world. And while Tom King’s Vision was a big Marvel hit, he’s primarily produced critically-acclaimed-book after book for DC Comics with Omega Men, Mister Miracle and more.
Today, Bendis and King are at the top of their game, working on the most famous superheroes in the world, Superman and Batman. While King is penning a 100-issue epic in Batman, and gearing up for this week’s release of Heroes in Crisis #1, Bendis is shepherding both main Superman titles, Action Comics and Superman. And this month they’ll trade places in a new DC Comics initiative, a series of DC anthology books sold only at Walmart, in which they each have a 12-issue story of 12-page installments, with King writing Superman and Bendis writing Batman.
If you put them on a call together, where would the two find common ground? Where would their histories and perspectives on growing up in comics differ? We wanted to know, so we got them both on the phone.
Polygon started with a big question: What comic made you start liking comics?
Brian Bendis: What was the comic that destroyed us forever as adults and made it so we can’t work for a living except for doing this [laughs]?
Yeah, for me it was it was superhero comics. I was a little boy and I didn’t know all this at the time, but now I know: my parents were getting divorced. My dad wasn’t around, so the comics were like this great place for me to visit. It was also a great place to get some good moralization and just hang around with people with a good point of view, a good moral center. And then you start discovering the art form, then it becomes more of a just an exciting story being told you start pulling apart “Why is this affecting me so much? Why do I love this? What is it about comics?” And you start memorizing the names of the creators and then before you know it you’re obsessed with the art form and everything you can do and you’re like ‘How can I do this?’ and then that starts the journey. And for me I was very young when it started, I was in grade school. How old were you, Tom?
Tom King: …’87? It’s funny that you say it, because I think it was right when my parents got divorced, too. My dad walked out. I remember the comic, though, it was Avengers #300 by Walt Simonson and John Buscema. I don’t think Walt likes it — I’ve talked to him about it. Gilgamesh was one of the stars of the issue. It was fun, it was crazy, but in the back of the issue they had a list of every Avenger and they had a little John Buscema picture of them and what issues they had been in. And I went over it like the Zapruder film, “Why did Thor come in and go out? Now he’s dead. Now he’s alive.” It was like there was this sort of hidden mythical history that I had just found to dip into, I couldn’t believe it was all connected and all through one story.
Bendis: Our generation — and some of it was accidental, now knowing the history and everything — but [comic writers of the time] were very good at sucking us in just enough that we were like “Oh my god, there’s so much mythology!” but not enough to go “I can’t do it, it’s too much!” I never felt like when I was reading it was too much. You never felt that way reading Marvel or DC Comics, even though it was elaborate! The most dense tapestry of characters; hundreds of characters involved with each other and it’s quite amazing and you can get sucked in. If the real world isn’t doing it for you, you know, there’s a lot of cool stuff going on on at Marvel and DC.
I think about that every day when we’re doing our stuff. The things that got me. Even like, watching Thor fly by in a Spider-Man comic, that would get me. That would make me feel like I was part of something. And I try to get kind of stuff in almost every issue I do. I’ll do a pass looking for “Where’s the fun stuff for 8-year-old Brian, you got anything for him?” But the good news is now I have my five-year-old son who literally follows me around the house and is the voice of the younger me, constantly asking me for things that I would have wanted.
King: I think I was fairly convinced at a young age that Stan Lee had directed all comics for 30 years, almost like he had come down from the mountain with these scrolls that had to be followed by other people. “And Roy Thomas said unto me …”
Bendis: I was a Marvel kid, but I was a DC teenager; a lot of my favorite creators, once I learned who they were, ended up going into DC Comics at a time I was at my most passionate and most in tune with it. So when Frank Miller and John Byrne and George Pérez were all on Batman, Superman and Wonder Woman, they brought me to DC. And it happened to be at a time when DC was at a zenith of just amazing comics, Vertigo Comics, all of them were set at the top of its game. So that’s the moment I was really ruined. Like, “Oh, you can do this for a living and it all can be art and it can be art in any direction? On any title? Do anything? I’m in.” So the late ’80s were tough for us creators in DC Comics.
But we have discovered through the years that everyone has a different story about what brought them in and it completely informs them and the work that they do, the books that they like. It’s genuinely fascinating. Do you find that, Tom?
King: I came in through Frank Miller and Alan Moore, and I feel like I am just constantly reflective of them in one way or another, but I have guys who came into through Grant Morrison, like Tim Seeley or Steve Orlando, they’re constantly comparing “What kind of comics are you writing? Oh, you’re trying to write those other kinds of comics.” I think your origins are always with you.
Bendis: When people reflect to us about them, if our work was the first thing, I know what that feels like, and I try to get over my self-loathing and enjoy that moment with them, because that is terrifying. My first years in comics when people would say “The first book I ever read was Daredevil!” and I’d go “Oh, I’m sorry” and then I’d start apologizing. Then I was like “Oh, I’m ruining this moment for this person because I have issues. Why don’t I just smile and say thank you? Because that’s why you made it, stupid.”
King: I’m way too young for that kind of stuff.
Bendis: Oh you! It’ll happen one day young whippersnapper, don’t you worry.
King: But your comics brought me back into comics. I did that thing a lot of people, at least in my generation, did, where in the late ‘90s, as I was entering high school and college, I dropped comics and came back them in the early ‘00s. It was sort of a gap from ‘97 to 2005. It was your comics, Brian, that brought me back in.
Bendis: You literally are just testing me to see what I’ll say now, because my first instinct was to go [apologetically] “Oh, well, you know…”
King: Well, when I was in Iraq my mother sent me Ultimate Spider-Man Vol. 1, I still have it and Secret War? That one really, that was the big one for me, your Secret War, I was like ‘Oh, comics are something totally different now.’
Bendis: First of all, there’s no way for you to say all the words you just said without me feeling like the Crypt Keeper, but other than that, it’s an amazing experience.
Years ago me and David Mack were working with Bill Sienkiewicz, and he said to us, “You know it’s so funny, when I was working on New Mutants we’d get one or two letters, tops. People didn’t write in. So we’d get one or two enthusiastic letters. But I had no idea people were being rattled by what we were doing until like a decade later.”
Nowadays we hear immediately, instantaneously, whether or not the book touched people or succeeded at its goal, and we’re so lucky. And it really keeps us so honest. Even thinking back to 2005, I had a message board and all kinds of social media, but still you feel so surprised when you hear from someone outside of your world. Surprised that they get touched by the work, even though that was the point of it. I’m just grateful that our generation gets this immediate feedback. And I kinda always want to tell creators that may not know that how special it is. It’s a very unique experience between creators and readers now. It just fascinates me. Literally, I woke up this morning and I already got reviews for a book that’s coming out tomorrow. That never happened 10 years ago. That is crazy.
King: This is somber, but this is a thing that struck me once was that someone came up to me and said “My friend who passed away was a huge fan of yours, and I just want to tell you how much he appreciated your work.” And it just hit me on some fundamental level, that someone had read my stuff and passed from this life.
Bendis: Not only passed from this life, but it meant so much to them that they said “Hey if you see them, tell them.” It’s quite special, and I think, Tom, you have developed a special relationship with a lot of your audience because of your ability to dive into your own pain or other pain that you’ve discovered.
And I must say I find myself — you know the year I’ve gone through — find myself connecting to your work more than most because of it.
I find myself so surprised by it, because usually when I’m connecting to someone’s work because of something in my life it’s not so painfully obvious what the connection is. And I know this is a very long question but I was wondering how you’re handling it? You’ve opened a door to a lot of people expressing themselves to you. I see sometimes you taking on a lot of other people’s stresses and pain. That’s a plus and a negative, and I want to see how you’re doing with all of that, because it’s such a unique experience.
King: I feel like — maybe you feel this way sometimes — comics are such a deadline medium. You always have to get another one out, so you don’t have time to not write about your own pain [laughs].
But yeah, I wish I could write a comic that was a perfect Die Hard-like action movie; that was something that didn’t involve myself at all and was just wonderfully zeitgeist-y and brilliant but … you write every week and you write every week. Eventually you run out of movies that you know well enough to steal from and you just have to kind of steal from yourself, the closest object in the room. Like improvisation.
Bendis: I had a friend who did what you did, in that they open themselves up very, very much. And then it became almost like they were overwhelmed by the people reaching out for help. Like, “I need help” and it was like, “Yeah, you do. And I’m a comic book writer. I can’t help you.” He became overwhelmed and kind of shut down from it.
And I find myself … I shared a lot, too, and because I have shared the stuff that happened to me that was life and death, and that you’re now sharing a lot of yourself, and you don’t always get to pick when you turn it on and off. You know what I mean? Like you might want to go online and just look at scores and someone’s there asking for help because you understand their pain. I know it’s a weird question; it’s unique to us and it’s unique to you and it’s something I wanted to talk about, see how you’re feeling about it.
King: When people come up to me at cons they’ll talk about the deep depression stuff they got, or suicide stuff from Mister Miracle or something like that. It’s kind of a deflection in some sense, but I honestly resort to, like, “Isn’t it annoying?” I feel like people make things these things more transcendent than they are — when you have different pains or whatever in life that I write about — but what they come across every day is the frustration of it, and the little things. And then we start laughing about it and then it gets OK. So I deflect the deep by making a joke.
Bendis: Well that’s one way to handle it. It’s so emotional. It is why I like to do appearances. Signing books is lovely, but it really is hugging and talking that’s the best part. That’s all I ever remember, is the emotional stuff, and I think a lot of times people only see the stuff online with people yelling and screaming about whatever. But most of our stuff is just really beautiful emotions and people just trying to heal and get through stuff and it’s amazing that comics can do it. More than I thought when I started, if I look back at what my goals were and what I thought the relationship would be to the readers, I didn’t expect it to be so emotional.
King: I’m half Jewish and half Midwestern, so when everyone comes up to me with one of those big moments, I get this idea in your head that “Oh you’re not that big a deal, this is not real.”
Bendis: [laughing] Sorry, I’m laughing at the image that you’re Midwestern, because I just say “Everyone’s problems are my problems, everyone’s faults are my fault. I have to take this —” It’s completely different relationship to it.
King: Yeah, anything that’s that heavy or big or complimentary — there must be some sort of misunderstanding or something. You retreat to the humble.
Bendis: Yeah, I found this year’s journey surprised me in how much of it was about surviving using your work, you know what I mean? Like I just wanted to make my comics, and then you look back and go “Oh, look what I’m dealing with. Look at all the stuff I’m dealing with.’ I thought I’d talk about it with the man who writes the books about dealing with stuff.
King: It’s very pretty. The art is beautiful, I can say that much.
Bendis: This is a very beautiful book that I connected to. So I’m just seeing how you’re doing, how many issues are you in?
King: Three are in. Yeah, no, I feel good. I feel nervous about it!
Bendis: What are your hopes? What are your feelings about it? When you close your eyes and imagine it, what are you…
King: What do I hope? I don’t know, to me it’s not as ambitious as … I don’t know. I’m worried about the mechanics of it. I hope that the mystery works. I hope that people don’t solve it right away once people are involved with it. I really hope people keep turning the pages.
Bendis: All right! You got it down to some very Zen simple things.
King: It’s that worry, when you’re writing something where … the background to the book is going to be the “deep themes” or whatever, you want those deep themes to stay in the background and that people should be interested in the story. My fear is that the story itself should be the driver and not the themes. I don’t want anyone to come to [Heroes in Crisis] and say “Ugh, this feels like great homework, I give it an A.” I want people to come to it and be like “Holy crap what just happened, I want to find out.”
Bendis: No, don’t lecture. I feel like I want to go online every day and tell everyone, “Don’t lecture.” Everyone’s getting a little close to lecturing in their work.
King: You can make a point without lecturing.
Bendis: No one wants to be lectured to. I forget who said this… “People who agree with you want to be lectured to less than people who don’t.” I try to remind people, you can have a great point but please don’t yell. I feel like Twitter is getting into people’s narratives. “I’m going to tweet my story!” and I’m like “No no, tell your story. Tweeting is yelling, tweeting is lecturing.”
King: I don’t know if I’m right, but I never want to have a message in my work. I don’t want to be like “Aha, you guessed my secret message! This is about how everyone should care about each other or something.”
Bendis: But it’s there, which is all the more haunting, because when you don’t focus on your message yet it shows up so strong, you’ve got to go “Ooh, I am, I am working on something.”
I’ve done this, too, when you’re writing and the message keeps revealing itself. To me it feels like Heroes in Crisis — might be like, it could be — your big statement, your final statement on this part of the human psyche that you’ve been writing about. Do you see it that way, or is it just the beginning?
I wrote these three books, Sheriff of Babylon, Omega Men, and Vision and I thought they were three different books and they all turned out to be the same book. It’s just like what you we’re saying “Oh, I’m just writing the same theme over and over again, it’s about a guy who tries to do something well and finds out something’s more complicated it all goes to shit.” I was like, “Oh, this is my CIA experience.”
Bendis: [laughs] That’s my dad experience.
King: [laughs] Yeah, there you go. And now I’m doing Batman and Mister Miracle and now like “Oh, I’m just writing about — you go through trauma but your family puts you back together, that’s my 2016 nervous breakdown experience.”
King: Hopefully there will be some other theme that emerges from my work on the next thing.
Bendis: It will. Do you consciously decide “OK this will be my final statement, for now, about this this part”? You can force yourself into a different environment to get to that next thing?
It’s part of what we’re dealing with in Jinxworld — every creator I’m working with is someone I’ve done a great deal of work with and we just said, “You know what, let’s not do anything we’ve done before. Everything, let’s just scrape it all away. Everything we’re known for, let’s not do that anymore.”
We did that. And it was a weird process, but at the end of it we ended up making more streamlined, better versions of the things we’ve done. We got back to the basic basics of it. It was a really great experience, and I’m trying to tell anyone who would be in a position to try that to try it, because it was a really good creative experience that I think will inform you for like the next 10 years. I know this is like a high class dude thing to say, but you’re at that place where you could do it, too.
King: Yeah, I totally agree. I was writing a scene just the other day, another Batman-being-sad scene, and I finished it and I was ready to turn it in and just read it and I was like “I don’t like this, it feels almost rote. I don’t want to write a traumatized hero right now, I want to write a badass hero.” I can feel that you want to grasp for the new, do something more interesting. Which is why doing Superman in these Walmart books is like a breath of fresh air.
Bendis: What an outstanding segue! Well done! You don’t get enough credit for your segues, man, that was fantastic.
Bendis: Yeah, no, my whole Walmart thing is fear-based. I was terrified to write Batman. I said yes right away, because I was like “Alright, that scares me, I’m doing it.” But you had already written Superman, you had a different experience with it.
[Swapping characters for the Walmart books] was Dan DiDio’s idea, I think…
King: No, that was my idea! [laughing]
Bendis: Was it? Oh, OK. It was pitched to me! It’s a great idea and it kicked me right in the balls, because when I got to DC I think everyone thought there was some Batman project coming, and I didn’t take Batman, and it threw everybody.
Now, I think [DC was] going to say “Well, Batman’s taken care of right now, what else do you want to do?” But I didn’t even go there because I knew Batman was taken care of, and also I was very focused on Superman. But the whole time we were talking about it everyone would bring up “Oh, we thought you were to come in for Batman.” And I said “Nope!” and then I realized, they think I’m scared of Batman, I might be scared of Batman.
And then when they said — literally a week later — “Hey, guess what, there’s this interesting Walmart gig.” Which is genuinely interesting; 12 issues, 12 pages, which is a very different format than our normal, and with an artist I adore, and you can really go places with it. And I was like “Yeah I’m in,” because I knew I was scared of it. But I’m so glad I’m in, because working with Nick Derington was one of the best things that’s happened to me this year. Batman has been the greatest travel partner through the DC Universe; I started using the job to take Batman on a road trip to places in the DC Universe to see where I wanted to spend some time in my other books, and we’re just having a blast.
King: I’ve read the first issue. It might be my favorite comic of the whole year. I loved it.
Bendis: Oh, you did? Oh, thank you! Oh, I didn’t get to see yours yet, that’s not fair.
King: [tauntingly] Ha!
Bendis: I didn’t get to see it! Well, I saw your Action #1000 story. What is going on in your book?
King: Of all the people I’ve worked with he’s the greatest designer of comic book art. He’s the best storyteller I’ve ever worked with.
Bendis: Yeah, he’s one of the guys who does not get enough credit at all.
King: See, probably because I’ve learned from you, Brian, I love storytelling inside boxes, because it’s one thing after another, it’s an easy way to tell a story. I feel like when people break all those boxes up it really doesn’t work and it gets — unless you can draw like MacFarlane or Lee where the art is the object, not the story — it just loses it for me. But then I see Andy, who kind of throws away all the rules and reinvents them, and I was like, “Oh you can do this, you can break every rule as long as you’re a genius at it.”
Bendis: Well, he’s also a teacher, he’s an educator, so he’s constantly going back to the basics and learning where to pick them. Those who teach, I always find, get to a real next-level in their work. Because they’re forcing themselves to go back to the basics every semester, and it just makes your brain look at your work differently. I’ve experienced that, but the visual artists that are teachers? You can totally see the difference.
King: That’s funny. Oh, and the story is just, it’s like The Searchers but in the sky. Superman is trying to rescue a little girl that’s been kidnapped.
King: Through space.
Bendis: Awesome. What do you think about the 12 pages? I love the 12-page chapters! I love them.
King: Yeah, no, nobody will be able to tell this it’s not a super experimental storytelling technique, but every page turn in the comic is a new scene.
Bendis: That’s fantastic.
King: So each each installment can be such a good short story because you have 12 stories. Which is more than I usually have in a 20-page comic, I just had to find the way to make it work.
Bendis: That’s fantastic. For people who don’t know, most comics are 20, 22 pages, so you’re used to structuring your stories or your chapters to a certain beat, right? So this one, at first you’re like “Oh, I have to get to the beat faster,” and then you’re like “No, there’s something weird.”
I think I genuinely had some giant cliffhanger at the end of my second act of a 20-page issue. So my page 12s or 13s were usually when I was trying to really put on a show, and then I get there naturally in the Walmart books, and I’m so frickin’ excited about it. And I know I sound like a dork but I literally was like, to anyone, ‘12-page stories might be our future,’ I’m so in love with it. I get so much done in that 12 pages that I feel like, just a good person when I’m done. It’s weird.
King: I feel like it’s a throwback to those EC Comics stories that were always 8 to 10 pages. It’s a way to do short stories, every one has to be it’s own little episode of the series, it has to have a cliffhanger and everything. I love it.
Bendis: And just so people know, the stakes are very, very high. In issue six of my Batman story, Green Lantern spends most of the issue complaining about how Batman has never been to his house.
Bendis: And then you find out that Batman doesn’t doesn’t know where Green Lantern lives, and they’ve known each other for years. And that Green Lantern has been to his house numerous, numerous times. And then Batman finally says “I’m sorry, is your house, like, nicer than mine?” And he goes “Nicer than stately Wayne Manor? No!” And Batman goes “Then what are we talking about?” And that’s the whole story. I’m having a very good time with it.
I must say, I think most people … that’s their number one thing that they like about comics. That the artistry and ingenuity is all there, and the basics of the character and the basic building blocks. We were talking about this online, when people refer to what they remember in your story they never say, “Remember that connected action beat you did? That was fantastic!” They say, “Remember when Batman made me cry” or “Remember when Superman said that and it made me laugh?” It’s always the moments of humanity. Always. Without question.
You can’t force them, but you think about them. Sometimes writers or editors or try to trim out some of that stuff, and yeah, sometimes you’ve got to get to the story. But other times you go, “No no no, that’s sometimes the magic.” Sometimes the only thing they’ll remember from the book.
King: But I feel all the great bombast of comics is all just a metaphor for those personal moments. Like Grant Morrison said, Superman is the same as us, he plays fetch with his dog, but he just throws the stick to Saturn and it makes it cooler visually. We use all the fighting and all the blowing up as metaphors for small conflicts in our lives.
Bendis: I’m remembering now, Scorsese taught Bryan Hill at NYU, and Scorsese said no one remembers the story. All they remember are the moments.
It’s just very frustrating when you spend 90 percent of your day constructing a story.
King: But Brian, don’t you find as a writer that, when you think of your story, you’re very proud of the moments? But when you get feedback they’re like, “Well this person didn’t do this thing and this would have been more logical” and you’re like “I’m fine with that, I was focused on exactly what he needs to say in that moment.” I tend to think that writers write for the moment, not for plot, but people pay more more attention to the plot.
Bendis: I learned this when we started working on TV shows. Comics people really get to live in the moment. We really get to live in that page, in a way that even TV, which you’d think is so immediate you have to reach for it, but comics — it’s so deeply personal.
It’s hard to describe, but it really is, still, in this day and age, the act of someone in the corner of their room and the only thing they’re holding is your comic. It’s just you and them, together, having a moment.
Now they share them with us. Usually, you just have that moment and it was yours and you didn’t get to share with anyone. Now people, like, tweet us! “I’m literally having a moment! Right now!” Like, live. It’s quite something. So I never get, like — when the audience comes to you with their perspective, I always like that, actually. I always like to be reminded by other people’s perspective that are different than mine. Because even if I didn’t get it in this issue, I’ll find it somewhere in the story. Like if someone reminds me of the truth, I’m quite grateful.
King: There’s definitely been a sea change [with the perception of comics]. I mean, Stan Lee talks about how in the ’60s he was at a party with his wife on Long Island and people would ask him if he was a writer and he’d try to change the conversation because he didn’t want to admit he was a comic book writer because then they’d all treat him as a pariah. And now, I go out with my kids and if I say “I write Batman” suddenly all the other dads are like “Oh, that’s so cool!” [laughs]
Bendis: Yeah, not be braggy, but I must say, in the eons of time that I have been making comics, the shift in the way people perceive them and the way people react to you when you say what you do, it’s pretty amazing. And it has to do with the film and television shows legitimizing us. I wish that wasn’t the case, I wish the art form itself brought it on, but just a general sense: you say Batman or Superman and people literally stop.
Literally, 10 years ago, somebody said “Oh, people still make those, that’s something humans make?” Like a computer did them. And it went from that to, genuinely, someone said “Oh, you’re on Superman? You must know what you’re doing.” And I was like “Oh, that’s sweet of you. Oh yeah, I guess that’s true.” That’s the difference now, that people used to look at it like it was just garbage. And now when you say it’s a cornerstone of our culture they go “Oh yeah, it is.”
They’re not there yet, but they’re getting to that place where they realize how important the books are or how important the characters are. From what you were saying earlier, though, there’s always been, literally since DC and Vertigo, there’s been a place for people to tell more mature stories and places for Superman to punch someone in the face. And by the way both things are valid storytelling and both things are very valid ways to express yourself through the characters.
Just to speak to that a little bit, the mature adult situations, which you and I are desperate to get in our books, they take up almost all of our time. But I will tell you I know there are people who buy our books because the world is very screwed up right now and they would like to see the good guy punch the bad guy. They want a decisive “good guy wins.” That’s what comics always did in World War II and all the way through after. “The world is a murky, confusing place, I don’t know where my dad is, he went off to war. Oh, good, Captain America just punched Hitler in the face. Thank you. I just needed that.”
We think about that a lot, when we’re doing our books. You can get very complicated and very inventive with your plot, and have the villain have a bittersweet win. And I’ve done that. But sometimes … let the bad guy go to jail. A decisive good guy win is what people are really coming here for. Don’t forget that.
King: I was just reading an interview with Neal Adams from, like, 1980 or something, and he was asked — he was starting a new line of comics — “Is your new line of comics going to move beyond the adolescent fantasies of super heroes.” And Neal’s like “I take umbrage at the idea that adolescent fantasies are bad. That sounds like someone who still likes something but they’re ashamed to say they like it.” And I think that’s true, just like Brian was saying, that comics can do some fantastic and fantasy things. I think the best thing a comic can do, or at least a Batman comic could do, is give you a 10-minute break from your day and just let you relax for a second. I think that’s a legitimately wonderful thing.
Bendis: And I must say there’s been, in the time I’ve been making comics, a great shift in how the media has perceived us. We still every once in a while have “Biff! Bam! Pow! Comics aren’t for kids anymore! Can you believe it!” kind of articles, but more often than not it’s thoughtful creators talking about next-level work and that in itself speaks to that a lot of people talk about us differently when they do.
I think why people love Batman so much because he can be both. There’s something really magical about the character where you can pretty much throw anything at him. I was just reading Frank Miller’s intro to his All-Star Batman Robin. He talked about how, I think it was Neal Adams, who said that you can literally throw anything at Batman. Batman could be as silly and as serious and as tragic and as hopeful, and will bounce back. And not a lot of characters can do that. And I’m just absolutely fascinated by it. Why the audience has chosen Batman as a character that they’ll let go through any gauntlet, whereas if we put Superman through the same thing, the audience would expect a different result.
King: And what is your difference there, why is it Batman? Batman wasn’t always more popular than Superman. Superman outsold Batman until the late ’70s, early ’80s.
Bendis: That’s all in Miller’s intro. It’s when “The Batusi” started and then you can go from The Batusi to Neal Adams’ Batman in the same year, and it’ll still be Batman. They just kept pushing and pulling it to see how much Batman could be Batman and the audience said “There’s no limit to how much Batman could be Batman.” It’s almost like a mythological creature. It’s fascinating.
Also [Superman] stands for hope. You can’t do a little bit of hope. You’ve gotta be all-in on the hope. And it’s so funny, when I started working on Superman there was an inordinate amount of artists working with us. We had this weekly series with different artists and then the artists on the main books. So we had at one point almost 10 different artists working on different Superman issues and all of them kept saying “I just don’t want to do alien god monster Superman, with, like, crazy eyes,” and I went “Yeah, we’re not doing it.”
I took that as a big lesson from the cosmos. I didn’t want to do it, but if you ever feel like “Superman’s gonna unleash!” Yeah, don’t. It’s Superman. He can unleash in a different way.
King: To me, the fundamental difference in the characters is it’s easier to understand the origin of Batman. And there’s something else in the visual design of the two of them, but — The idea that “My parents are dead, therefore I am seeking vengeance, but I can never be fulfilled” is so easy to understand and to relate to. I’m sure you and I would write essays on how nuanced and interesting his background makes him as a character, but it can’t be as simple as “His parents are dead, he’s trying to find happiness.” He can’t be boiled down.
Bendis: In this area I lucked out so well, because I have a lot of adoption in my family now, and more understanding about that than I ever would have if I was writing this as a younger man. I have different kids on different kind of quests in their own life as adopted kids. So, seeing Superman, Clark, as an adult, having gone all through that, having already made his choices and trying to figure out the parts of him that are in him biologically and the parts that have been trained by him, parts of him that are good old fashioned farm boy, that quality silence of a solid person who doesn’t need to speak all the time — unlike me. These are fascinating parts of him that are so deeply American that I’m kind of startled by them when I’m writing him. But my point is there’s a lot more to Superman than even Batman.
King: I mean, I agree with that. I think there are levels to that character and they come from Krypton and they come from the adoption and where it comes from, being raised in America. Jeph Loeb, it might have been in a Superman run, I remember him writing, “He could kill us all but he chooses not to every day.” [laughter]
Bendis: I don’t think he even thinks about it.
King: Yeah, he doesn’t even think about it!
I ask every single person who comes to my table, “What’s your favorite superhero?” It’s my question ask to fill the time while I’m signing. And 90 percent of the people who come to me say Batman, and I say “Why Batman?” And I’d say 80 percent of the answers are “because he’s human.” That’s what they mention the most, “He’s just like me. I could do what he could do.” Something like, “If I was motivated in the way he was motivated, I could do it.” Where it’s harder to relate to Superman because you clearly just, can’t be. Everyone has had some sort of pain in their life that’s almost the equivalent of Batman, not the same pain, but —
Bendis: Right, that’s what you want to do when you’re done writing Batman all day, “I’ll go play Batman!”
But in the Batman virtual reality game you are literally little Bruce Wayne and they murder your parents in front of you. You can literally watch them die in the alley, and then the murderer comes in your face and threatens you. It is very visceral and it speaks a lot to the future of VR, but it also, that everyone has this terrifying moment.
Everyone’s got an alley, and some people have left their alley and some people haven’t. Batman has never left his alley. Right? And that’s what makes him magical, and I think people relate to that deeply. A lot of people have a metaphorical alley they have not left.
King: Shakespeare’s most popular play, you’d think it would be Hamlet, his dad died and he’s seeking revenge. Nobody loves Coriolanus, which is a straight Superman story: a guy who is really great at everything and has to deal with that. There’s something in the psyche that wants to love that story.
Bendis: Speaking of which, I love writing Batman and Superman being pals. I love it.
King: They are very fun as pals, I agree.
Bendis: It’s funny because it was one of those things. I love finding new friendships, but their friendship is [chef’s kiss noise]. What a fun thing to write.
I must say, I never had the experience of writing a character that just writing them makes you have to be a better person all day. You can’t spend six hours a day thinking, “What should the best person in the world be doing right now? What’s the what’s the best solution for Clark, who’s the best person?” and then go about your day being an asshole. You have to then go “Well, why can’t I be that? Why can’t I try to be as good as that?”
What I do find, though, is that Superman exudes patience for other people’s nonsense that very inspiring. And I find that I have inherited his patience. That I will often stand in the face of my children losing it and I instead of doing what I’ve been trained to do — which is Jewish Dad “Everybody stop!” — I will come with a more calm moment now that I am a writer of Superman. He taught me something.
King: I was raised by two women, my mother and my grandmother, and my mother was a classic Jewish mother, hugely smart, went to Harvard and everything, but always worried about every single little thing. And that was her motivator, that’s what gave her strength; she’d always focus on how everything could go wrong and how she had to constantly prepare. If things started to go wrong, she noticed.
Whereas my grandmother, on the Midwestern side, was from Nebraska, raised on a farm. And she never worried about negatives, she would always focus on the solution. That was her thing, “Stop worrying about the problem, just get it done.” And when I write Batman I’m writing my mother and I when I write Superman I write my grandmother.
Bendis: When I was writing Spider-Man I was such a jittery person, I remember being able to tap into it to write Spider-Man. And now that I’m writing Superman, and after what I’ve been through, I find myself at a calmer place and I’m grateful. But now I’m thinking, “Well, am I just being calmer because I’m writing Superman and I was acting more jittery because I was writing Spider-Man?” I can’t tell if I was leaning into it more because I was writing it. But it’s fascinating to have both voices in the same body; both the nervous Jewish voice of Spider-Man — yes, he was Jewish! — and Superman.
King: I’ll do a closing statement: It’s just a very strange thing that DC is doing. They’re putting what I think is probably some of my best work ever in a Walmart book and what I know is some of your best stuff ever, because I’ve read it. And it’s it’s going to be hard to find, legitimately, this entirely new distribution method; to get to Walmart and put these books out — and DC is working on fixing that. But I’m just saying these are worth seeing out and they’re worth demanding, because these are some of the best superhero stories being written right now. If you just love superheroes and you forget all that nonsense and just embrace that joy, this is where it’s at.
Bendis: There isn’t a person reading comics who doesn’t remember where they were when a comic first punched them in the face. We talked about this earlier, but when it really knocked you out.
And I remember standing in the local pharmacy reading Avenger’s Annual #10, which was the first appearance of Rogue, by Michael Golden, and it completely shattered me. And it was one of the best comics I’ve still ever seen. And when people are now going have the opportunity to go to Walmart, go to Action Alley, and get these books…
I’m telling you, beyond our stories, this package is exceptional. It is an exceptional, very inviting way to get new readers into these projects. When I was offered to come to DC this was one of the things that was on the table — this genuine opportunity to reach new readers, different readers than our awesome, every day readers — and they asked ‘You want to go all in on this?’ and I was like ‘Yes!’
It’s everything I’ve ever wanted comics to be, which is this beautiful invitation to everybody to come in and read these awesome characters, for people who see the movies and TV shows. People talk about the comics still, because real stuff going on in the comics; still, to this day, the real truth, the real firsts, the real magic of these characters starts from the comics. So if you want to see it first, that’s where you get to see it.
This interview was edited and condensed for clarity.
Superman is still reeling from finding out Lois is back on Earth, making him vulnerable to the things happening around him, even from his co-workers, such as Robinson Goode, who has come into possession of Kryptonite.
Brian Michael Bendis slows it down a bit this month for this issue of Action Comics, revealing his first real test on the Superman titles. Can he make his stories last? Bendis has proven in the past that he’s able to work on hundreds of issues of a series and character without skipping a beat, while also, occasionally, letting a series take a breath away from the action. He obviously showed this with his run on Ultimate Spider-Man, and it seems to be what he’s doing here, taking a breath after the extremely fast-paced first two issues.
With that breath though, not much happens in the way of this issue fight-wise. There’s only two pages where Superman is even on the page. The rest of the time it’s Clark Kent. That’s fine though. Bendis is really focusing on Superman being bombastic and larger than life, while Action Comics has been more of the mundane, street-level stuff. Both were set up in The Man of Steel, but both have divulged into separate entities, causing them to really be differentiated. And, I think Bendis should be applauded for that.
That being said though, Bendis’ writing in this issue does have its problems. While it’s great that he’s focusing on the journalistic and more human-side of Clark Kent’s life, he’s barely in the issue. The issue focuses on Robinson Goode, a new reporter at The Daily Planet, who’s searching for a story. While it’s interesting to focus on a reporter other than Clark or Lois, Bendis hasn’t given the audience enough time to really be invested in Goode as a character and therefore,
Image by DC Comics/Art by Patrick Gleason
her story and subsequent search for her story, which is more than likely to expose Clark as Superman, falls flat. That being said, there is a great scene between Goode and Batman in this issue.
The lack of Patrick Gleason this early into the run is also very surprising. Yanick Paquette is a great artist and does some really good work throughout this issue, but his style doesn’t quite fit a Superman book as much as say, a Batman book. So, it’s probably good that he did the issue where Batman was a fundamental part of the issue and was even on one page more than Superman.
Paquette is able to make what could be a very slow and meandering issue move at a quick pace thanks to his framing and panel choices as well as the layouts of his pages. There are a couple of spreads in here that read extremely well just because of the way he chose to lay them out. Even with Paquette’s really solid, good work on the issue though, Patrick Gleason’s artwork was sorely missed, and here’s hoping that he won’t need fill-in artists as often.
Bendis hit his first real snag in his run on Action Comics with a slower paced issue focusing on a character that hasn’t been developed enough to care about yet.
Ken DenmeadEditor-in-ChiefMatt Blum</p" href="http://superkalel.com/blog/2018/01/17/review-superman-39-caring-for-kids-2/">
Ken DenmeadEditor-in-ChiefMatt Blum</p">Review – Superman #39: Caring For Kids