Elliot S. Maggin

It was this novel's good reputation that prompted me to begin my entire sub-undertaking of journeying through prose fiction based on superhero comics. Well, I'm happy to report that it's as every bit as good as everyone says, and definitely up there with the best Superman stories in any medium. Elliot Maggin just gets Superman and everything about him.

I was a bit skeptical about the book's opening, which begins with the destruction of Krypton and prophecies of doom from Jor-El-- we've seen show more all that a million times by now, not the least in the only previous Superman novel. Thankfully, this is only a small part of the novel, and it turns out to be necessary, because then we get three chapters of Clark's life in Smallville being set up by a very unlikely person. I thought it was goofy when I first figured it out, but I soon came to love the idea. And that person's influence turns out to be key to the plot of the second half of the novel.

The plot actually takes its time showing up, but that's okay, because I was having such a good time in the interim. Superman is portrayed how I love him best: a really good guy trying to do his best because he believe the best of everyone, bothered but not overly so by his inability to do everything for everybody. Clark is a bit of a wimp, but not overly so, and the interactions with Steve Lombard show how to carry that kind of thing out perfectly: you'd like Clark even if you didn't sympathize with him because Steve Lombard is such a jock.

Though everyone, down to Jimmy Olsen (as goofy as ever) and Lois Lane, gets their moment, Lex Luthor is the other standout character here. There is a lot of interspersed backstory here about Clark and Lex growing up together in Smallville, which is something I normally dislike because it turns Superman into someone whose presence is harmful and Lex into someone too obsessed with a single vendetta to be interesting. But Maggin does a great job with here, all because his character-work is very fine: the presence of Superboy is just one of many incidents working on Lex's mind, and though Lex might not have become a supervillain without Superboy, he didn't become one only because of Superboy, either.

What really makes it work, though, is all the stuff Luthor gets up to in the present. He's still in his Silver Age "mad scientist" phase here, but he's verging into being the corporate mogul: he has quite the criminal empire here. Maggin's Luthor is usually the smartest man in the room, but he also always knows what to do when he's not. My favorite passage is definitely this one, about when Luthor is in prison, allowed only a ballpoint pen and pad of legal paper:

One night, in a loose moment, Luthor figured out how to melt the plastic cap of the pen, let a certain amount drip into the ink refill, extract a substance from the glue that bound the legal pad, wrap it all in half a sheet of yellow paper and make an explosive powerful enough to blast out a wall of his cell. Luthor would never do that, of course. If he did, the next time he was in jail the warden wouldn't give him his pen and pad. (138-39)

Hilarious and genius. Perfect Lex.

It's not all about Luthor, though, as Superman just manages to keep his counterpart from stealing the show. There are some fantastic depictions of Superman's powers in action; sometimes you might think he's got too many of them, but as in All-Star Superman, who cares? What keeps Superman grounded isn't his powers (or lack thereof), it's his ethos. (The epilogue is particularly good in this regard.) My favorite moment is a late one in the book, so I won't spoil it, but suffice it to say that while Superman is trusting and always willing to give a second chance, he's nobody's chump... and he knows how to scheme with the best of them.

I can't wait to read Maggin's other Superman novel, Miracle Monday; this was a book of sheer joy. show less

I really enjoyed Maggin's first Superman book, Last Son of Krypton, and his second is not quite as good, but it is still very good. If there's anything I didn't like, it's just that the plot takes its time getting off the ground; we're over halfway into the book before Superman even finds out that there's a problem he needs to be solving.

But aside from that, this is essential Superman. Maggin has a way with all the characters, one that makes me regret the fact that I don't think I've ever show more read a Maggin comic book. I'll have to get on that! He gets them all perfectly, but especially Superman and Lex Luthor.

Though I might disagree with the way Maggin phrases it, that Clark Kent is just a pretense for Superman, the way it plays out in practice is great. I haven't read any of the comics from the era where Clark is a newsanchor for WGBS Metropolis, but the way that Maggin shows him juggling his Clark and Superman roles is perfect. As a big Lex Luthor fan, I also love the way that Maggin writes Luthor: the smartest man in the room, at all times, just never quite grasping an essential moral truth. He's funny, in the sense that the Master on Doctor Who is funny: his plans stagger the mind, but have a certain twisted logic to them. 

Also, here's a bit from a description of the prison where Lex Luthor is incarcerated: "Haskell was the ninth warden at this prison in eight years. Four had been fired; two had had nervous breakdowns; one had had a heart seizure after seven months here [...]; and one had turned out to be one of Luthor's many fictional alter egos" (49). That's my Lex!

Lois isn't a big figure in this book, but the scene between Lois and Superman after the Superman/Clark duality has been revealed to the world is the best summation of Lois's character I've ever seen. Even Jimmy Olsen gets his bit!

The triumph of the book is of course in the ending. I don't know if Maggin actually grew up reading Superman comics, but I suspect he did. This book is the work of a man who grew up believing that Superman is the essential, archetypal hero, and that is absolutely right.

Happy Miracle Monday! show less

Access a version of the below that includes illustrations on my blog.

This is a licensed story based on Atari videogames! As you might expect of a space adventure story from 1983, it's very Star Wars: it opens with a space battle over a desert planet, there's a hotshot pilot, a wise old man, an evil empire, a heroic resistance, and cute alien animals. The basic premise is that the insectoid Zylons control the galaxy; the pilot (Jed) and navigator (Tomorrow "Tommy" Hardtack) of a star cruiser show more come to a devastated planet where they find an immortal librarian (Zeke) and an old spaceship, the Star Raider. Jed and Tommy repair the Star Raider with Zeke's guidance, recruit more rebels, and have a couple run-ins with the Zylons. (There's also a bit of Battlestar Galactica in it, I guess.)

It's fun enough. Jed arguing with Zeke is a little overdone, and everyone goes off half-cocked and has to be rescued by someone else at some point. I liked Tommy (a riff in name if nothing else on the DC character Tommy Tomorrow of the Planeteers) the most; she's sublimely 1980s-- just look at those shoulderpads and that hair band-- and feels the least like a Star Wars character. The beautiful art by José Luis García López is probably the real selling point of this book; this story didn't deserve art this good, but it got it anyway! The only thing to not like about it is that Jed and Tommy's original ship has a confusingly similar design to the Star Raider. (But I would guess this has something to do with the original videogame on which the graphic novel is based.)

The set-up is good, but the ending feels rushed-- a significant connection between a minor character and the Zylon queen comes out of nowhere, allowing everything to be wrapped up easily. It felt like Maggin was setting up an ongoing series (there are a number of characters introduced who end up not doing much) and had to swerve to wrap everything up in twenty pages at the last minute. Still, if you want some 1980s spectacular space action, this is a quick, enjoyable read. Too bad there's no more adventures for these characters, because I'd read them. show less

Batman: The Blue, the Grey, and the Bat reimagines the caped crusader's story by casting Bruce Wayne as a Union Army colonel tasked by President Lincoln with tracking the disappearance of gold shipments in the Nevada territory. The Union needs these shipments to help fund the ongoing war effort against the Confederacy. Colonel Wayne adopts a foppish personality to throw off suspicion that he might be the mysterious Batman. Along the way, he teams with Agent R - a Native American named show more Redbird - and Agent H - Jim "Wild Bill" Hickok. He also pairs up with Samuel Clemens, though not in an official capacity. With Redbird's aid, Wayne musters escaped slaves as the Dark Knights to help uncover the conspiracy to steal the gold. Elliot S. Maggin and Alan Weiss' writing plays upon the expected tropes of a Western with various Civil War touches, though they appear to deliberately avoid anything but the most tacit acknowledgement of the Civil War and how it fundamentally reshaped the United States. Weiss' pencils combined with José Luis García-López's inks do a nice job of combining DC artistic styles from 1992 with those found in mid-nineteenth century broadsides. Overall, the narrative is entertaining, but it succeeds more as a concept than in its execution. show less