In all eyes, we examine a comic book number from 25/10/50/75 years (plus a joker every month with a fifth week). This time, we head around January 2000 for one of the best superman problems of all time.
There are a few different things that you should keep in mind when you discuss Mark Millar and its race Superman Adventureswhich lasted most of 1998 and 1999, and ended in January 2000, most of which was with the artist ALUIR AMâNCIO (the stories were almost all “made in a” stories, but there were both parties mixed). The series was based on Superman: the animated seriesAn excellent television series Bruce Timm / Alan Burnett / Paul Dini which took place from 1996-2000, and introduced a certain number of distinctive versions of various superman characters. Millar was still very early in his American comic book career at the time, having really done Marginating (first with the co-series Grant Morrison, then as a single writer), plus a passage on Aztek The Ultimate Man And The flash (both initially with Morrison, with the two alternate problems of Aztec). Millar received two appointments from the Eisner Prize for his work on Superman AdventuresIncluding an appointment for the best writer in 2000.
These two things are as follows:
1. Mark Millar love Superman. When asked years ago what Superman means for him, He explained::
Oh, everything. I have always loved Superman as far as I remember, and even associate it on Wednesdays when I learned the days of the week at the age of 3 or 4 years. Wednesday just before my dinner. Batman always makes me think of Mondays for the same reason. But I was 8 when I saw Superman: the film and that’s when everything was set up. I don’t know why I love her so much, but it was this precise moment that I knew what I wanted to do in life and I had the impression that Moses was talking to the bush on fire. Everything I could afford either with my pocket money or as a birthday present. I had a Spanish superman cup on our living room shelf until the age of 15 just because. I simulated photos of me flying as a superman in costume at the age of nine, using my own version of the mat effect. I Four played Superman Hoopla. Each weekend, I performed in the nine or ten grocery stores in my city when I saw if new books were in it. If Superman was not on the cover, I was not really interested. I did not enter Batman before being a teenager, and I will emerge that I really only read when I was very young, maybe five to seven.
2. Mark Millar likes to do different things with his projects. I mention this one because people are often surprised by Millar Superman Adventures Running, but they should really not be, because Millar has constantly tried to redefine in his comic strip races, it is therefore natural that different projects see the writer coming from a different perspective. He underlined this problem once A different interview::
You should exercise on both sides of your brain. I really loved making superman adventures. In a way, it was the start of my career. But for 18 numbers, I couldn’t even have the word “damn” or anything. Or Nothing horrible! So I loved doing authority and exploding babies and everything. I love jumping between the two.
He also noted the problem An interview in 2021::
“I started doing things for seven years old: Superman Adventures at DC. People said, “It’s the guy who does junior stuff”. So I did something a little more shocking to lose this reputation. The things I do now are incredibly different from what I was doing five years ago, which is different from five years ago. When people struck me like something, it is good to have them completely pain. »»
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What was the inspiration for “22 stories in one limit?”
In 1993, director François Girard made a very acclaimed biopic about the pianist, Glenn Gould, in which Girard would come to Gould from several angles, so the title of the film, Thirty-two short films on Glenn Gould …
Gould was a brilliant and idiosyncratic pianist, who had fascinating theories on music, like his explanation to explain why he withdrew to make concerts at the beginning of the thirties:
I have only done eight years, which is really not very long. . . . I even found at the beginning of my adolescence that, for me, the most comfortable situation was the studio environment and not the concert environment.
This suggests two things, I suppose: the first is that, except in the sense of learning a lot of rather complicated repertoire very early in life, I was not a prodigy. I was not in the menuhin [a famous violinist who launched his career at a very early age] Mold, traveling from city to town. It did not come to mind, and fortunately, I did not come to the idea of my parents either as something that would be advantageous. But one of the results not to travel is that, when I was my end of adolescence, I decided that there was something a little degrading about the concerts. The process was essentially unpleasant. I realized, however, that it was the most practical way to make money. And I was not immune to the prospect of making money. So, when I was at the beginning of the twenties, I thought I would give concerts for a decade and at that time, I would be 30 years old and that I would have retired. Well, at least I got closer! I retired at 32! Retired, that is to say to give concerts.
From the moment I started to broadcast, that The medium looked like another world, as it is indeed. As I started to discover the studio environment, all my reaction to what I could do with music in the appropriate circumstances has completely changed. From that moment, the concerts were lower than the second best; They were only something to pass. They were a very bad substitute for a real artistic experience.
In 1996, the film was very famous in Simpsons Episode, “22 Short Stories on Springfield”, with 22 short films on the various citizens of Springfield who normally do not obtain the spotlight (this included the now iconic “steamed Hams” with Seymour Skinner and Superinte Chalmers).
Superman Adventures # 41 was the response of Millar’s comic strip to Girard’s film (well, the format, at least. Several different artists, featuring different members of the distribution of the series, all behind excellent coverage of Mike Manley / Terry Austin (Austin gave all stories), in a issue entitled “22 stories in one limit” …
So what exactly was the problem?
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What was the line line in Superman’s question?
After an excellent origin “therefore in one page” of Superman (years before the Now-Iconic page, four panels, eight origins words in Superman in All Star Superman # 1 by Grant Morrison and Frank Quitly) drawn by Ty Templeton, there is a fun story drawn by Joe Staton where Intergang increases the powers of Superman, but to the point where he can hear exactly where they are, and he easily captures them .
Neil D. Vokes takes a nice story about Metropolis people asked what they would do if they were Superman. The last person interviewed is Clark Kent, who has a funny answer. An example of the typical week of Lane laws drawn by Bret Blanvins follows.
Then, in a story of Joe Staton, we get the start of the line’s line, while Mr. MxyzptLk attacks Superman throughout the number, while we see eighty days spending several times …
Rick Buchett, ALUIR Amâncio and Neil VOKES draw the other three mxy stories in the issue.
Min S. Ku draws an intelligent story by Lex Luthor, where he has such a busy day that his assistant, Mercy, explains that he cannot simply dwell on the destruction of Superman all day. He then quickly solves the day of problems of the day in a few minutes, freeing himself the rest of the day to, well, you know, to destroy Superman (Millar refers to Pinky and the famous brain slogan here).
The unknown Maggie Sawyer obtains the spotlights in a page by Cameron Stewart, while Superman compliments her after a hectic day of fighting Super Crime as the first Metropolis cop.
Mike Manley draws a story of Lobo where the main man is furious that someone asked him for Superman’s autograph. Craig Rousseau draws Jimmy Olsen cornered by a local gang. He retaliated and Superman uses his powers to make Jimmy think that he took the thugs alone.
Bret Blevins draws a funny story with Superman cleaning the supergirl room for her so that she can get out of the grounding. Manley is back for an excellent story of Darkseid, because the villain is not satisfied with everything he has, because he has not defeated Superman …
The deceased and Grand Darywn Cooke, before becoming known as one of the greatest artists of comics of all time, attracted a story of a fun Toyman …
Rick Buchett draws a nice story by Professor Hamilton where everyone thinks that the scientist is busy on a new invention, while he was really trying to find a way to add a flavor of mint to the laboratory café. Neil Vokes draws a parasitic story where the villain had a very unlucky at the time of the absorption of power powers.
Bibbo explains a video game plot to Superman in a story drawn by Cameron Stewart who disturbs Superman in the proximity of describing his real fights. Joe Staton draws the opposite of this configuration in a story where Metallo is apparently on the outburst, but it is actually just a film made (Superman must help when the trained lions of the shooting are not as trained).
Philip Bond does a good job on a quick story of Jimmy Olsen where he almost understands the secret identity of Superman while scribbled glasses in a photo of the steel man. ALUIR Amâncio then draws a great history of the world of Bizzaro.
Finally, in a farewell appropriate to the problem, Min S. Ku shows how Superman always works to save the day, even when his friends and his enemies are deep …
What a wonderful mixture of comedy, characterization and action, all in a number. This is why this problem is considered one of the great superman problems of all time!
The number was not only the last number of Millar, because it was also the last issue of his series editor, Mike McAvennie
If you have suggestions for February (or any other later month) 2015, 2000, 1975 and 1950 for me to highlight me, send me a line at branc@cbr.com! Here is the guide, however, for the coverage of the books so that you can make books of books that really came out in the right month. In general, the traditional time between the coverage date and the release date of a comic strip through the history of the comic strip was two months (it was three months, but not for The moments when we discuss here). The comics will therefore have a coverage date which is two months ahead of the real release date (therefore October for a book released in August). Obviously, it is easier to say when a book of 10 years ago was published because there was an internet coverage of books at the time.