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davidmann95 · 4 years

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All-Star Superman #3

This is gonna be a tough one.

Not the toughest, mind you - that’s probably going to be #7. But after two issues of establishing the tone, aesthetics, and thematic concerns of the series, this is one of the pair of issues in All-Star that for the most part functions as a ‘normal’ Superman adventure story, though in this case one following up on the themes established by the previous issue, while #7 will set up the one coming after it. It’s also likely the most commonly critiqued issue of the series in retrospect its use of Lois Lane as an essentially passive figure to be fought over, and while her characterization here lends some interesting dimension to that choice, it’s hard to disagree it’s the series’ most unfortunate framing and substantial missed opportunity. None of that however can overrule that on examination, there’s still considerably more going on in here than the traditional tale of Superman beating down monsters and showing up bullies, the harsh slap to the face of reality for Clark after his actions last issue and his redemption in the form of showing what makes him different from his predecessors as the strongman-savior template.

So I haven’t talked the lettering much in this series - it is, they say, the invisible art - but Phil Balsman absolutely kills it here with KRULL WILL EAT YOU!, and the decision on the next page to render the ZEE ZEE ZEE ZEE of Jimmy Olsen’s signal watch in the font of the title pages is absolutely inspired, nevermind what he does with the Ultrasphinx later on. The bombast of the bastard lizard prince of the underworld and his cronies wreaking havoc aside though, what this page succinctly does is set up the entire conflict of the issue. It’s not just a monster, it’s a monster out of the past mimicking the cover of Action Comics #1, and apparently by way of terraforming Metropolis via steam clouds, trying to take control of Superman’s ‘world’. From Krull to Steve Lombard (“You tell me what a spaceman flying around in his underwear can give her that a good old hunk of prime American manhood can’t?”) to Samson and Atlas to the Ultrasphinx, this is a story of Superman up against dinosaurs in his image.

Ironically, however, it’s this Superman vs. Bros comic that has perhaps the most Bro sensibilities in the series. Per Morrison on the subject, “For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground. Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon.” That’s not unto itself a problem; it’s a precursor to Morrison’s t-shirt and jeans reinvention in that sense (which leapt back from the 70s to the 30s for inspiration), and when Superman himself finally gets his own back here it’s more than deserved. But it becomes a problem when Lois at theoretically her literal most empowered does little with her new powers and is framed narratively as a prize to be won in this ‘game’ of godlings, with Superman literally muttering “What do I have to do to make you keep your hands off my girl?” Morrison seems to be somewhat aware of the problems given Lois’s reasons for playing along (which are actually rather significant to the point of the issue) and her amused distaste at the suggestion of being ‘won’, and the issue is ultimately something of an argument against the macho storytelling tropes that drive that thinking. But it’s a far cry from the nuanced look at her and Superman’s relationship last issue offered, and there’s no virtue in overlooking it. As will be demonstrated again later on in the series in less structurally-embedded but more pointed ways, this was written almost 15 years ago, and mistakes were made.

Now we get to the book’s superheroed-up takes on Samson and Atlas, who are such delightful assholes. Occupying the Mxyzptlk/Prankster/Bizarro-in-his-friendlier-moods role of being the enemies to make Superman go ‘oh god, this guy’ as much as direct counterparts to him, they’re basically fratboys tooling around history and getting into trouble together, and Superman’s clearly had to clean up their messes before. They’re the champions of myth who operate by a morality that in no way precluded thievery, deception, and murder in pursuit of their grand ‘heroic’ conquests, the alpha male swaggering dipshit dudebro operating on Superman’s scale. And as much as they’re a pair of craven dumbasses who literally compare cock-sizes in here who Lois has no real interest in, their appearance is also the first and one of the only times in the series Superman puffs his chest out and does some traditional iconic posing, and he has good reason to be threatened - they’re trying to ply her with gifts and tales of miraculous feats basically exactly the same way he did last issue. He may have started to come clean with her, but he’s still playing his old Silver Age nervous bachelor games, and now that she’s got powers and costume to match his she’s showing him exactly where that bullshit is going to get him, teaching him a lesson just like he tried to teach her so many once upon a time.

As we’re around the midpoint of the issue, let’s talk the art. Quitely and Grant aren’t as showy with the tricks and effects as the first two issues; the one real noticeable structural thing is a consistent rhythm of zooming in-and-out on our four leads throughout the issue to keep a sense of momentum to a story mostly driven by conversation, culminating in the hyper zoom-ins of the Ultrasphnix sequence. But GOD there are so many perfect little details in here. The bow coming undone on Lois’s present, the glow of the super-serum (it feels so right that it literally glows, the ultimate alchemical potion), Lombard’s bouquet for Lois’s birthday party while Jimmy is bringing a conch of some sort as a presumed gift to whoever they’ll be meeting at Poseidonis, Jimmy’s happy-meal looking signal watch WHICH HAS A WRISTBAND SHAPED LIKE AN S, more beautiful Metropolis architecture and a good look at how the Daily Planet globe actually works, poor dopey-lookin’ Krull bursting through the satellite twirling around like a cat in a half-second of freefall, the Chronomobile, the far-off monumental stone towers of the Subterranosauri, the glow of the lava fading out as Samson reveals Superman’s fate, the bioelectric crackle around Atom-Hotep, mermaids waving up at Superman and Lois, and of course the pinup. It’s such a damn pretty book.

Just before the arrival of the Ultrasphnix, we have the mythic architecture of the series explained to us, naturally by the figure out of myth:

As noted by Morrison, the exact nature of the 12 challenges are never explained within the story because it’s only in retrospect that history will declare those specific feats as being of note in light of them being Superman’s last accomplishments before his ‘death’; Superman himself isn’t sure how many he’s done later on. It’s an apt if seemingly out-of-left-field bit of commentary on the way epics of the kind this story itself aspires towards are reinterpreted over time, but hindsight being 20/20? That this is a story of a massively iconic, archetypal take on Superman being brought out of the public eye to his physical and emotional lowest at every turn (hence the ACTUAL structure of the series being a solar arc across the sky, from day to a nighttime journey through the underworld and back again), that is now generally thought of being a fun fluffy story of how great and perfect Superman is, entirely bears it out. The 12 Labors of Superman are what Clark’s roughest year looks like to the awestruck onlookers, both in and as it turns out in large part out of text.

After Samson and Atlas seemingly show nobler colors by offering Superman aid in a genuinely stirring moment before Superman accurately dismisses it as the empty machismo posturing it is, Ultrasphinx - yet another super-champion of the past, this one an amoral god rather than a ‘hero’ on a quest - poses the unanswerable question of what happens when the unstoppable force meets the immovable object with Lois both alive and dead until he does (one of those unions of opposites Morrison loves), basically creating a high-stakes literalization of their relationship. Superman and Lois Lane had been playing will-they-or-won’t-they for almost 70 years at the time this was published (culturally at least), her trying to pry into his secrets while he screwed around with her in turn, running in circles until we finally reach the acidic psychodrama of Superman’s Forbidden Room and something has to break one way or another. And Superman answers that it’s time to surrender. Has he inspired the car ad we see at the end of the issue, or vice-versa? Either way, it’s illustrating by example what the deal is with the super-labors.

Superman, learning his lesson as he has and showing his greater heroism stems from his nobility, intellect, and willingness to transcend his worst instincts, still takes a minute to teach Samson and Atlas a well-deserved lesson (paired with that absolutely perfect shot of the rock cracking on Lois’s head), before taking us to my absolute favorite statement on why Superman loves Lois Lane which also connects back to the idea of surrender, and the iconic moon shot. And as Superman holds her as she falls asleep, his Clark voice in all its vulnerable humanity manifests itself as he tries to propose; the tough guys of the past wanted Lois for a day when she was finally operating on ‘their level’, Superman ‘lowers’ himself to his most human alongside her reassumed mortality as he tries to tell her he wants her for what lifetime he has left. We’re only halfway there at most, he still hasn’t admitted his condition and she still can’t accept that he’s Clark, but this is Superman taking his first step along his quiet character arc.

Additional notes

* Interestingly, the original solicitation for this issue declared “Meanwhile, Lex Luthor's plans simmer as the criminal mastermind exerts his charisma and intellect over the hardcore inmates who share his maximum-security prison.” One of many bits that changed in the process of actually putting the book together.

* Perhaps this story of very manly men out of time doing manly stuff and getting their asses kicked for it across generations is represented in part by Krull being the son of a king whose battle cry is KRULL WILL EAT YOUR CHILL-DRUNN! That might be reading a *bit* much into it though. That Morrison describes Krull in backmatter however as “the living embodiment of the savage, swaggering ‘R Complex’ or reptile brain” definitely plays into the ideas of the issue as I understood them.

* Jimmy’s declaration of “Ms. Grant, Mr. Lombard, I’m taking immediate steps” is a perfect little moment for him - he’s calm and on top of things, but there’s also that little touch of naive ego in thinking that it’s thanks to him that Superman’s going to notice the dinosaur invasion of Metropolis.

* In backmatter and interviews Morrison had substantially further fleshed-out backstories for several of the new characters here. Samson is indeed the original champion, plucked from his era by a pair of foolish time-travelers searching for a savior; instead, enamored and corrupted by future culture he stole their malfunctioning Chronomobile and went on adventures to slake his lust, for fortune, flesh, and adventure alike. Atlas meanwhile is the boisterous yet quietly burdened young prince of the New Mythos, a society of super-godlings torn between New Elysium and Hadia, Morrison’s vision of a Jack Kirby Olympian saga for DC following in the wake of Thor’s Norse myths rather than the full-blown invention of the New Gods. And the Ultrasphinx “is the super-champion of a lost Egyptian Atomic Age in the 80th century BC. When he crashed to Earth his otherworldly science founded the advanced, ancient dynasty of Atem-Hotep [sic], a civilization eventually destroyed by the nuclear war that left Northern Africa a desert”. A. Morrison backmatter rules and you should read it whenever you get the chance, and B. This notion of proto-civilizations mirroring the eventual legends of a mere handful of millennia past is one he followed much further in Seven Soldiers of Victory with Shining Knight and its antediluvian Camelot.

* The main inspiration for this particular story was the frequent use of ancient strongmen as rivals to the Man of Steel in the Silver Age, which Morrison noted preferring to the use of analogue characters like Majestic for their broad cultural standing, culminating in this:

...though with Atlas swapped in, as Marvel already had the definitive take on Hercules in superhero comics (and, one imagines, since putting Hercules in the comic where Superman gets 12 labors would have had to be addressed), though he’d tackle him later on in the...controversial Wonder Woman: Earth One. Morrison’s analysis of this cover in Supergods basically lays out the thesis of this issue quite cleanly: “This was what happened when you couldn’t make decisions or offer any lasting commitment. Samson pounced on your best girl. And for Superman, it was a horrific challenge to his modernity. Was he really no better than these archaic toughs? Or could he prove himself stronger, faster than any previous man-god?” Fun fact: I myself hate this comic because it’s an entirely standard issue that fully returns to status quo by the end, sullying the good name and promise of Imaginary Stories for nothing more than fooling readers into thinking this was one of the issues were anything could really happen. Shameful false advertisement.

* Worth noting this is a rare instance where the glowing-red angry heat vision eyes work for me. Those two were real dicks and had it coming, and for that matter Superman looking for all the world a wrathful god promising banishment to a very different sort of underworld more than underscores his relative position next to the suitably abashed adventurers.

* It’s an interesting choice to use Poseidonis here, the capital city of Aquaman - it’s a sensible place for Superman to travel (though the real implications regarding the Justice League in this world won’t be for awhile yet), but it’s Tritonis that’s the undersea home to Superman’s onetime love, the mermaid Lori Lemaris. Perhaps Morrison just didn’t want a subset of readers in the know and pining after all these decades for Clark to find succor in the arms of his fishy love to dwell on that particular what-could-have-been; either way, Atlantis in general as what sprung up from a devastated ancient civilization is a perfectly logical inclusion for this issue in general.

* Lois’s description of her super-senses is not only lovely, but sets up the victory of #12 right in the first act. Additionally Lois keeping a cactus is such a perfect little bit for her character - it’ll prick ya, but she’s working to keep the thing alive.

* The journeys to the moon and ‘underworld’ for this issue, but in playful and romantic contexts, marks this issue as the (depending on whether you read it as a 4 or 6 issue arc) final installment before All-Star Superman begins its structural descent into the night.

* A very happy birthday to Justin Martin (and a day-before-birthday to myself) with this, annotations of the issue of All-Star Superman about a birthday. Birthdays themselves being a signpost of time and evolution, a forward march, making it a potent occasion to highlight in this series in general and this installment in particular.

#All Star Superman #Superman #Lois Lane #Grant Morrison #Frank Quitely #Jamie Grant #Phil Balsman #Bronze Age #Sexism #Art #Opinion #Analysis

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