Number 1172: Superman in Oz

I like to look at editions of American comics published in other countries. This issue of Superman, published in Australia for K.G. Murray (and distributed by an English company...so did it appear in the UK, also?) is a good example. They've left the Superman contents unchanged from the American, but made small changes in the dialogue of the Henry Boltinoff gag pages.

Last Sunday I called Superman "stodgy" compared to Captain Marvel. I mean that while both Captain Marvel and Superman stories could be very silly, in the Captain Marvel universe the silliness is played for laughs, but in the Superman stories of the same era the humor is sometimes unintentional.

"The Adventures of Mental-Man" has a ridiculous premise and depends on extraordinary circumstances to make the plot work. You'll see what I mean when you read it. Wayne Boring did the artwork, and he was "my" Superman artist growing up. If nothing else, I knew it was a Wayne Boring job just by the panels showing Superman in flight. Al Plastino* did "The Dog Who Loved Superman" in much the same Boring style (and yes, I'm being intentional). It's inked by Stan Kaye, who inked a lot of Superman stories to give them some consistency. Jerry Coleman wrote the first, Bill Finger the second.

"The Adventures of Mental-Man" was originally published in the US in Action Comics #196 (1954), and "The Dog Who Loved Superman" was originally from Superman #88 (1954):

*The Stan Kaye inking credit is from Grand Comics Database. In a 2007 interview Plastino claimed he did all his own inking, and that he was told to draw like Boring, whose style he described as "rigid."

Plastino's style is evident, and confirmed by his signature, in these two "U.S." Royal advertising strips from 1951 issues of Boys' Life magazine. Advertising is where the money was, and artists good enough to get these jobs did very well.

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Captain Marvel Versus Superman

Superman Fan covers the oversized comic from the 1970s featuring the battle between the Big Red Cheese and the Man of Steel. But before that matchup ever took place (indeed before DC began publishing Shazam!), there was another tumultuous pairing between Supes and somebody who quite clearly was inspired by Captain Marvel:



In the splash page to Action #351, we learned what his name stood for:



And in Whiz Comics #2, we found out what Shazam stood for:


(Image lifted from the late, lamented Comic Coverage)

Except for Solomon and Atlas, the names are the same, although some of the locations and attributes are different.

In the story, the United Crime Syndicates needs a new boss, their old one having been jailed by Superman. A newcomer appears offering to lead them:



No surprise, the gangsters accept Zha-Vam's leadership eagerly. And apparently believing in the dictum to "Never steal anything small", they attack Fort Knox. Superman arrives and finds himself in quite a tussle:



In the middle section, Zha-Vam delights in forcing Superman to press one of the buttons on his belt, which turns him into still different gods of the past. For example, the "G" button transforms Zha-Vam into Gorgon, in which guise he turns Superman to stone. Supes recovers when he manages to attract lightning to himself. Later, Superman presses the "P" button, and turns out all the light in the word, as Pluto replaces Zha-Vam. Superman must grovel:



Superman's computer reveals a possible way to defeat Zha-Vam; his Achille's heel. But it turns out that the Greek God has planned ahead for this eventuality:



In the final issue, Superman returns from space to discover that Zha-Vam has placed the Shield of Orion around the Earth, and that he cannot get past it. He decides to go backwards in time to evade the shield and while he's at it, he takes a sidetrip to ancient Greece, and Mount Olympus. There he learns that the gods are angry that modern folks no longer worship them:



In response, they come up with Zha-Vam and send him to the future to humiliate Superman and remind people of their awesome powers. Meanwhile, Superman talks to the Oracle and learns there's another set of gods who are rivals with the Olympians. They even the score by giving Superman his own belt, leading to the climactic battle:



In the end Zha-Vam loses his cool and decides to simply use his Kryptonite sock to kill Superman. But Supes uses his belt to call Atlas (for once he's not changed into the hero himself) who opens a can of whoop-ass on Zha-Vam, getting rid of the sock in the process. And Supes uses his belt again, as a whip on Zha-Vam's exposed heel:



This takes the fight out of Zha-Vam, and Supes deposits him back in time to Mount Olympus. The gods, realizing their folly, turn Zha-Vam back into clay, and Superman indulges himself in a little side trip to Mount Olympus of modern times:



Yep, only one god on DC's green Earth in the Silver Age. Comments: Entertaining story and Boring's art works perfectly for Zha-Vam; he's really got it going here. The concept of the old gods being upset that Superman has replaced them is a clever but creepy motivation, although of course thinking it through would reveal that the Greek Gods had been dead for millennia before the Man of Steel came along.

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The 3/4 Shot

Mark Engblom has a very cool post up about Robin, and the seemingly endless ways he appeared on DC covers looking on and commenting as Batman performed some amazing feat. The on-looker in a 3/4 shot was an important part of making the panel or the cover seem three-dimensional. It gives us a close, recognizable person so we can gauge the relative size and nearness of everything else in the view. This is used endlessly throughout the Silver Age. Look at every panel on this page:



You can see that in every case there is somebody standing in one or the other bottom corner who is the closest to the "camera", thus giving us scale. But notice that they do not have always the same angle that they're looking at. In the first panel, a salesman is looking directly left. In the second, Lois is looking back and left. In the third, the professor is looking forward and left Then we see Lois looking right, then left, then the professor looking forward and left.

I tend to think of the camera angle where the person in the foreground is mostly facing away from us as the 3/4 shot, because the onlooker is 3/4 looking away from the camera. In this page the third and sixth panels are used this way. In the ones Mark has posted of Robin, I believe that if you look closely at them, you'll see that every one is a 3/4 shot. Granted Moldoff doesn't make this clear always until you look at the set of the shoulders.

Now, here's the thing. The world's worst comics artist at drawing the 3/4 shot has to have been Wayne Boring, one of the major Superman artists of the Silver Age of Comics. And the main reason why was because he just could not place the eyeglasses on a character to save his life.

We have two examples right on the page I posted above:



You can see the problem, right? The angle is all wrong on the glasses; they look like they're about to fall off his nose, rather than balanced on the bridge. This is a major artist, on a major character who often wore glasses (as Clark Kent), and the artist just couldn't get it right:





And it went on for years. We all bow down before Weissinger, who undeniably created an amazing decade for Superman, but how do you ignore the fact that he let this travesty go on with the glasses?



It's not as if DC didn't know where to put the glasses; Al Plastino knew where they belonged:



Boring was a terrific artist in the Golden Age, and I would not have been able to draw anywhere near as well as he did on his worst days. But he almost never got the glasses right.

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