Superman is a fictional superhero appearing in American comic books published by DC Comics. The character is considered an American cultural icon.[2][3][4][5] The Superman character was created by writer Jerry Siegel and artist Joe Shuster in 1933; the character was sold to Detective Comics, Inc. (later DC Comics) in 1938.[6][7] Superman first appeared in Action Comics #1 (June 1938) and subsequently appeared in various radio serials, newspaper strips, television programs, films, and video games. With the character's success, Superman helped to create the superhero genre and establish its primacy within the American comic book.[2]
Superman's appearance is distinctive and iconic; he usually wears a blue costume, red cape, and stylized red-and-yellow "S" shield on his chest.[8][9][10] This shield is used in a myriad of media to symbolize the character.[11] The origin story of Superman relates that he was born Kal-El on the planet Krypton, before being rocketed to Earth as an infant by his scientist father Jor-El, moments before Krypton's destruction. Discovered and adopted by a Kansas farmer and his wife, the child is raised as Clark Kent and imbued with a strong moral compass. Very early on he started to display superhuman abilities, which, upon reaching maturity, he resolved to use for the benefit of humanity. Superman resides and operates in the fictional American city of Metropolis. As Clark Kent, Superman's secret identity, he is a journalist for the Daily Planet, a Metropolis newspaper. Superman's primary love interest is Lois Lane, and his archenemy is supervillain Lex Luthor.[12]
Superman has fascinated scholars, with cultural theorists, commentators, and critics alike exploring the character's impact and role in the United States and worldwide. The character's ownership has often been the subject of dispute, with Siegel and Shuster twice suing for the return of legal ownership. Superman has been labeled as the greatest comic book hero of all time by IGN, as the editors pointed out that Superman was the blueprint for superheroes as we know them today.[13] Like other characters in the DC Universe, several alternative versions of Superman have been produced.
Creation and conception
Jerry Siegel and Joe Shuster, then high school students in Cleveland, first conceived Superman as a bald telepathic villain bent on world domination.[6][7] The character first appeared in "The Reign of the Superman", a short story from Science Fiction: The Advance Guard of Future Civilization #3, a fanzine published by Siegel in 1933.[7] Siegel re-envisioned the character later that year as a hero bearing no resemblance to his villainous namesake, with Shuster visually modeling Superman on Douglas Fairbanks Sr. and his bespectacled alter ego, Clark Kent, on a combination of Harold Lloyd[14][15] and Shuster himself, with the name "Clark Kent" derived from movie starsClark Gable and Kent Taylor.[16] Lois Lane was modeled on Joanne Carter, who later became Siegel's wife.[16] Comic strips such as Li'l Abner and Dick Tracy influenced its original artwork.[citation needed] Siegel and Shuster then began a six-year quest to find a publisher. Titling it The Superman, Siegel and Shuster offered it to Consolidated Book Publishing, who had published a 48-page black-and-white comic book entitled Detective Dan: Secret Operative No. 48. Although the duo received an encouraging letter, Consolidated never again published comic books. Shuster took this to heart and burned all pages of the story; the cover surviving only because Siegel rescued it from the fire. Siegel and Shuster each compared this character to Slam Bradley, an adventurer the pair had created for Detective Comics #1 (March 1937).[17]
Siegel, believing that Superman would not progress with Shuster, contacted artists Tony Strobl, Mel Graff, and Russell Keaton as potential collaborators on the strip.[18] Artwork produced by Keaton based on Siegel's treatment shows the concept evolving. Superman is now sent back in time as a baby by the last man on Earth, where he is found and raised by Sam and Molly Kent.[19] However, Keaton did not pursue the collaboration, and soon Siegel and Shuster were back working together on the character.[18]
The pair re-envisioned the character, who became more of a hero in the mythic tradition, inspired by such characters as Samson and Hercules,[20] who would right the wrongs of Siegel and Shuster's times, fighting for social justice and against tyranny. It was at this stage the costume was introduced, Siegel later recalling that they created a "kind of costume and let's give him a big S on his chest, and a cape, make him as colorful as we can and as distinctive as we can."[8] The design was based in part on the costumes worn by characters in outer space settings published in pulp magazines, as well as comic strips such as Flash Gordon,[21] and also partly suggested by the traditional circus strong-man outfits, which comprised a pair of shorts worn over a contrasting bodysuit.[8][22] However, the cape has been noted as being markedly different from the Victorian tradition. Gary Engle described it as without "precedent in popular culture" in Superman at Fifty: The Persistence of a Legend.[23] The circus performer's shorts-over-tights outfit was soon established as the basis for many future superhero outfits. This third version of the character was given extraordinary abilities, although this time of a physical nature as opposed to the mental abilities of the villainous Superman.[8]
The locale and the hero's civilian names were inspired by the movies, Shuster said in 1983. "Jerry created all the names. We were great movie fans and were inspired a lot by the actors and actresses we saw. As for Clark Kent, he combined the names of Clark Gable and Kent Taylor. And Metropolis, the city in which Superman operated, came from the Fritz Lang film Metropolis, which we both loved".[24]
Although they were by now selling material to comic-book publishers, notably Malcolm Wheeler-Nicholson's National Allied Publishing, the pair attempted to sell their feature as a comic strip. They offered it both to Max Gaines, who passed, and to United Feature Syndicate, which expressed interest initially but rejected the strip in a letter dated February 18, 1937. However, in what historian Les Daniels describes as "an incredibly convoluted turn of events", Gaines ended up selling the concept as the lead feature in Wheeler-Nicholson's new publication, Action Comics. Vin Sullivan, that comic's editor, wrote to Siegel and Shuster requesting that their comic-strip samples be reformatted for the comic-book page, requesting "eight panels a page". However, Siegel and Shuster ignored this, utilizing their own experience and ideas to create page layouts, with Siegel also identifying the image used for the cover of Action Comics #1 (June 1938), Superman's first appearance.[25]
Comics historians Gerard Jones and Brad Meltzer believe Siegel may have been inspired to create Superman because of the death of his father, Mitchell Siegel, an immigrant who owned a clothing store on Cleveland's near east side. He died during a robbery attempt in 1932, a year before Superman was created. Although Siegel never mentioned the death of his father in interviews, "It had to have an effect," argues Jones. "There's a connection there: the loss of a dad as a source for Superman." Meltzer states: "Your father dies in a robbery, and you invent a bulletproof man who becomes the world's greatest hero.
Publication
Superman's first appearance was in Action Comics #1, published by National Allied Publications, a corporate predecessor of DC Comics, on April 18, 1938 (cover-dated June 1938).[27] In 1939, aself-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.[28] The year 1939 also saw Superman appear in New York World's Fair Comics. Superman would eventually appear throughout a host of titles, including World's Finest Comics.
Initially Jerry Siegel and Joe Shuster provided the story and art for all the strips published. However, Shuster's eyesight began to deteriorate, and the increasing appearances of the character meant an increase in the workload. This led Shuster to establish a studio to assist in the production of the art,[28] although he insisted on drawing the face of every Superman the studio produced. Outside the studio, Jack Burnley began supplying covers and stories in 1940,[29] and in 1941 artist Fred Ray began contributing a stream of Superman covers, some of which, such as that ofSuperman #14 (February 1942), became iconic and much reproduced. Wayne Boring, initially employed in Shuster's studio, began working for DC in his own right in 1942 providing pages for bothSuperman and Action Comics.[30] Al Plastino was hired initially to mimic Boring but was eventually allowed to create his own style and became one of the most prolific Superman artists during the Gold and Silver Ages of comics.[31]
In late 1939 a new editorial team assumed control of the character's adventures. Whitney Ellsworth, Mort Weisinger, and Jack Schiff were brought in following Vin Sullivan's departure. This new editorial team brought in established science-fiction writers Edmond Hamilton, Manly Wade Wellman, and Alfred Bester to script.[32] By 1943, Siegel was drafted into the U.S. Army and as a result his contributions diminished. Don Cameron and Alvin Schwartz joined the writing team, Schwartz teaming up with Boring to work on the Superman comic strip, which Siegel and Shuster launched in 1939.[30]
In 1945, Superboy — the teen Superman in flashback stories — debuted in More Fun Comics #101. The character moved to Adventure Comics in 1946, and his own title, Superboy, in 1949. The 1950s saw the launching of Superman's Pal Jimmy Olsen (1954) and Superman's Girl Friend, Lois Lane (1958). By the 1970s, Superman was appearing in numerous DC Comics.
In 1986, DC Comics restructured its universe with other DC characters in the 12-issue miniseries Crisis on Infinite Earths, resulting in the publication of "Whatever Happened to the Man of Tomorrow", a two-part story written by Alan Moore, with art by Curt Swan, George Pérez and Kurt Schaffenberger.[33] The story was published in Superman #423 and Action Comics #583 and presented what Les Daniels notes as "the sense of loss the fans might have experienced if this had really been the last Superman tale."[34]
DC relaunched Superman in 1986 under writer and artist John Byrne, initially in a six-issue weekly series The Man of Steel (1986). A special "direct-sale-only" cover of #1 featured the iconic chest "S" symbol of Superman's costume. Superman vol. 2 debuted that year, running through 2006. After it was canceled, The Adventures of Superman was retitled Superman, as Adventures had maintained the issue numbering of the first volume of Superman. Another series, Superman: The Man of Steel, had been launched in 1991, running until 2003, while the quarterly book Superman: The Man of Tomorrow ran from 1995 to 1999. Superman has appeared in numerous other titles throughout the early 21st century.
In 2011, DC Comics again relaunched the Superman comics, along with the rest of the company's series.[35] Superman and Action Comics were canceled and restarted with #1 issues.[36]Superman's costume was redesigned to look more like armor and the red shorts over his tights were removed.[citation needed] As of 2013, ongoing publications that feature Superman on a regular basis are Superman, Action Comics and Justice League. In February 2015, Superman received a new power and a new outfit, starting in Superman #38, by Geoff Johns and John Romita, Jr.[37]
Influences
An influence on early Superman stories is the context of the Great Depression. The left-leaning perspective of creators Shuster and Siegel is reflected in early storylines. Superman took on the role of social activist, fighting crooked businessmen and politicians and demolishing run-down tenements.[38] Comics scholar Roger Sabin sees this as a reflection of "the liberal idealism of Franklin Roosevelt's New Deal", with Shuster and Siegel initially portraying Superman as champion to a variety of social causes.[39] In later Superman radio programs the character continued to take on such issues, tackling a version of the Ku Klux Klan in a 1946 broadcast, as well as combating anti-semitism and veteran discrimination.[40][41][42] Siegel and Shuster's status as children of Jewish immigrants is also thought to have influenced their work. Timothy Aaron Pevey has argued that they crafted "an immigrant figure whose desire was to fit into American culture as an American", something Pevey believes taps into an important aspect of the American identity.[43]
Siegel himself noted the influence of mythic heroes in the traditions of many cultures, including Hercules and Samson.[8] Scott Bukatman sees the character to be "a worthy successor to Lindberg ... [and] also ... like Babe Ruth", and also representative of the United States' dedication to "progress and the 'new'" through his "invulnerable body ... on which history cannot be inscribed."[44] Because Siegel and Shuster were fans of pulp science fiction,[7] it is widely assumed that the 1930 Philip Wylie novel Gladiator, featuring a protagonist, Hugo Danner, with similar powers, was an inspiration for Superman,[45] though no confirmation exists for this supposition.[46]
Comics creator and historian Jim Steranko believes that the pulp hero Doc Savage is another likely source of inspiration, noting similarities between Shuster's initial art and contemporary advertisements for Doc Savage: "Initially, Superman was a variation of pulp heavyweight Doc Savage".[47] Steranko argued that the pulps played a major part in shaping the initial concept: "Siegel's Superman concept embodied and amalgamated three separate and distinct themes: the visitor from another planet, the superhuman being and the dual identity. He composed the Superman charisma by exploiting all three elements, and all three contributed equally to the eventual success of the strip. His inspiration, of course, came from the science fiction pulps",[47] identifying as another possible inspiration "John W. Campbell's Aarn Munro stories, about a descendant of earthmen raised on the planet Jupiter who, because of the planet's dense gravity, is a mental and physical superman on Earth."[47]
Because Siegel and Shuster were both Jewish, some religious commentators and pop-culture scholars such as Rabbi Simcha Weinstein and British novelist Howard Jacobson suggest that Superman's creation was partly influenced by Moses,[48][49] and other Jewish elements. More recently, this interpretation has been endorsed by biographer Larry Tye.[50] For example, Superman's Kryptonian name, "Kal-El", resembles the Hebrew words קל-אל, which can be taken to mean "voice of God".[51] The suffix "el", meaning "(of) God", is also found in the name of angels (e.g. Gabriel,Ariel), who are flying humanoid agents of good with superhuman powers. Tye suggests that this "Voice of God" is an allusion to Moses' role as a prophet.[50] Moreover, Kal-El's parents send him away in a vessel, delivering him to new adoptive parents in an alien culture in order to save him from impending doom, just as Moses' parents do.[50] "The narratives of Krypton's birth and death borrowed the language of Genesis."[50]
On the other hand, Superman has been seen by others as being an analogy for Jesus, being a savior of humanity.[39][49][50][52][53] Furthermore, the surname Kent, in early 20th century real life, was a common Americanization of "Cohen", and Clark Kent's wimpy, bumbling persona strongly resembled the classic Yiddish schlemiel.
While the term Übermensch was initially coined by Friedrich Nietzsche and translated by Shaw as Superman, it is unclear how influential Nietzsche and his ideals were to Siegel and Shuster.[49] Les Daniels has speculated that "Siegel picked up the term from other science fiction writers who had casually employed it", further noting that "his concept is remembered by hundreds of millions who may barely know who Nietzsche is."[8] Others argue that Siegel and Shuster "could not have been unaware of an idea that would dominate Hitler's National Socialism. The concept was certainly well discussed."[54] Yet Jacobson and others point out that in many ways Superman and the Übermensch are polar opposites.[48] Nietzsche envisioned the Übermensch as a man who had transcended the limitations of society, religion, and conventional morality while still being fundamentally human. Superman, although an alien gifted with incredible powers, chooses to honor human moral codes and social mores. Nietzsche envisioned the perfect man as being beyond moral codes; Siegel and Shuster envisioned the perfect man as holding himself to a higher standard of adherence to them
Publication
Superman's first appearance was in Action Comics #1, published by National Allied Publications, a corporate predecessor of DC Comics, on April 18, 1938 (cover-dated June 1938).[27] In 1939, aself-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.[28] The year 1939 also saw Superman appear in New York World's Fair Comics. Superman would eventually appear throughout a host of titles, including World's Finest Comics.
Initially Jerry Siegel and Joe Shuster provided the story and art for all the strips published. However, Shuster's eyesight began to deteriorate, and the increasing appearances of the character meant an increase in the workload. This led Shuster to establish a studio to assist in the production of the art,[28] although he insisted on drawing the face of every Superman the studio produced. Outside the studio, Jack Burnley began supplying covers and stories in 1940,[29] and in 1941 artist Fred Ray began contributing a stream of Superman covers, some of which, such as that ofSuperman #14 (February 1942), became iconic and much reproduced. Wayne Boring, initially employed in Shuster's studio, began working for DC in his own right in 1942 providing pages for bothSuperman and Action Comics.[30] Al Plastino was hired initially to mimic Boring but was eventually allowed to create his own style and became one of the most prolific Superman artists during the Gold and Silver Ages of comics.[31]
In late 1939 a new editorial team assumed control of the character's adventures. Whitney Ellsworth, Mort Weisinger, and Jack Schiff were brought in following Vin Sullivan's departure. This new editorial team brought in established science-fiction writers Edmond Hamilton, Manly Wade Wellman, and Alfred Bester to script.[32] By 1943, Siegel was drafted into the U.S. Army and as a result his contributions diminished. Don Cameron and Alvin Schwartz joined the writing team, Schwartz teaming up with Boring to work on the Superman comic strip, which Siegel and Shuster launched in 1939.[30]
In 1945, Superboy — the teen Superman in flashback stories — debuted in More Fun Comics #101. The character moved to Adventure Comics in 1946, and his own title, Superboy, in 1949. The 1950s saw the launching of Superman's Pal Jimmy Olsen (1954) and Superman's Girl Friend, Lois Lane (1958). By the 1970s, Superman was appearing in numerous DC Comics.
In 1986, DC Comics restructured its universe with other DC characters in the 12-issue miniseries Crisis on Infinite Earths, resulting in the publication of "Whatever Happened to the Man of Tomorrow", a two-part story written by Alan Moore, with art by Curt Swan, George Pérez and Kurt Schaffenberger.[33] The story was published in Superman #423 and Action Comics #583 and presented what Les Daniels notes as "the sense of loss the fans might have experienced if this had really been the last Superman tale."[34]
DC relaunched Superman in 1986 under writer and artist John Byrne, initially in a six-issue weekly series The Man of Steel (1986). A special "direct-sale-only" cover of #1 featured the iconic chest "S" symbol of Superman's costume. Superman vol. 2 debuted that year, running through 2006. After it was canceled, The Adventures of Superman was retitled Superman, as Adventures had maintained the issue numbering of the first volume of Superman. Another series, Superman: The Man of Steel, had been launched in 1991, running until 2003, while the quarterly book Superman: The Man of Tomorrow ran from 1995 to 1999. Superman has appeared in numerous other titles throughout the early 21st century.
In 2011, DC Comics again relaunched the Superman comics, along with the rest of the company's series.[35] Superman and Action Comics were canceled and restarted with #1 issues.[36]Superman's costume was redesigned to look more like armor and the red shorts over his tights were removed.[citation needed] As of 2013, ongoing publications that feature Superman on a regular basis are Superman, Action Comics and Justice League. In February 2015, Superman received a new power and a new outfit, starting in Superman #38, by Geoff Johns and John Romita, Jr.[37]
Influences
An influence on early Superman stories is the context of the Great Depression. The left-leaning perspective of creators Shuster and Siegel is reflected in early storylines. Superman took on the role of social activist, fighting crooked businessmen and politicians and demolishing run-down tenements.[38] Comics scholar Roger Sabin sees this as a reflection of "the liberal idealism of Franklin Roosevelt's New Deal", with Shuster and Siegel initially portraying Superman as champion to a variety of social causes.[39] In later Superman radio programs the character continued to take on such issues, tackling a version of the Ku Klux Klan in a 1946 broadcast, as well as combating anti-semitism and veteran discrimination.[40][41][42] Siegel and Shuster's status as children of Jewish immigrants is also thought to have influenced their work. Timothy Aaron Pevey has argued that they crafted "an immigrant figure whose desire was to fit into American culture as an American", something Pevey believes taps into an important aspect of the American identity.[43]
Siegel himself noted the influence of mythic heroes in the traditions of many cultures, including Hercules and Samson.[8] Scott Bukatman sees the character to be "a worthy successor to Lindberg ... [and] also ... like Babe Ruth", and also representative of the United States' dedication to "progress and the 'new'" through his "invulnerable body ... on which history cannot be inscribed."[44] Because Siegel and Shuster were fans of pulp science fiction,[7] it is widely assumed that the 1930 Philip Wylie novel Gladiator, featuring a protagonist, Hugo Danner, with similar powers, was an inspiration for Superman,[45] though no confirmation exists for this supposition.
