Hello there again. Getting back into the swing of things here. I usually have a very strict comic analysis format. It has a lot to do with how I read through the panels and my intense desire to share the comic with you in the same fashion that I absorb its panels.
I like to stop and focus on the art, the shifts in color, the finesse of the letters, the way they work seamlessly with the story to convey their perfect intentions. To pull your mind around a racetrack of stimuli, to deliver something that the art world and the written world could never accomplish by themselves. The ultimate team up of art and personal stories of triumph, growth, defeat, and things larger than ourselves comic books serves as a gateway to our courage, the unforgiving ways we feel about humanity, and the things outside of our daily concerns.
For these reasons, it has been a very difficult and different experience writing these next few articles. See that intense desire expanded to share not just a single book with you, but an entire adventure. It has been a process for me to try and pull my attentions further than I am used to. I hope it pays off.
So without further ado, let us venture forth, my dear friends.
ANIMAL MAN 1988-1990
I couldn’t tell you exactly what first attracted me to the Animal Man comics. At the time I was picking up tons of story arcs and a lot of obscure comics I had missed in my youth. I grabbed them up and have never looked at comics the same way.
……I honestly think I have something for the orange and blue contrasting color combination.
Animal Man wins the nonchalant hero award repeatedly while having a much much deeper undertone. I mean his name is Buddy, for goodness sake.
Movie stuntman, family man, Superhero – all these titles apply to Buddy.
Animal Man was one of those heroes with a good concept and a mostly forgotten execution. The idea of a superhero who can have any ability of any animal is not unheard of. The idea that he absorbs it from the life energy of earth is both super weird but really awesome.
A concept that FFVII completes beautifully with a bad haircut. And no noses.
Like so many other forgotten or overlooked heroes, Animal Man was resurrected in the late 80’s pushing into the 90’s and represented the shifts in perspectives from one decade to the next perfectly.
Bright colors and dark line work are the rules for most of the first few issues of Animal Man, looking much like early to mid 90’s American animation.
We begin with Buddy having an afternoon with his family in the suburbs. His family seems to be rather normal. A general discussion of the future between himself and his wife Ellen commences. Only it’s about his career…and how he’d like to get back in the superhero game. With JLA making headlines, etc., he wants to use his powers to provide for his family and find a place for himself in the process.
I swear that the World’s Greatest Mom shirt is the only reason embroidery stores exist.
This is the beginning of what seems to be a nice, if odd, homebody of a superhero story. The next 26 issues that follow both amaze and push the idea of what I thought you were allowed to do with comics. The schizophrenic nature of the comic actually helps me focus on what I think is more important in the overarching story. To lead the reader without holding hands. To push your eyes to follow the paths that you love and to rediscover new points as you gloss back over.
Reading Animal Man truly is an adventure that is unique. Every page goes quickly. Then your mind demands you repeat it. Until the block colors bleed over and the lettering stacks against the panel boxes. Until Buddy’s humanity makes you smile.
Back to what is at hand.
A beast hears the cries of the forgotten. Moving with haste through a concrete wilderness, we see his despair. We feel the isolation in the dark shadows and cool themed colors. All the major action done with gray chromatics, the rest of the city in the bright block colors we’ve grown accustom to.
As this drama unfolds, we jump back towards Buddy who is now serious enough to get a manager for his superhero career. I mean, nothing says a great future ahead like getting a friend and neighbor to be your manager. And then have a canned non-descriptive beer to celebrate.
Animal man appears on terrible television like we would all probably do if we were superheroes. After the usual “THAT’S SKIN TIGHT” costume joke from what appears to be Richard Dawson in comic book form we move on to a heart to heart with husband and wife. I love to see this dynamic in a comic book, where the more normal of the two has no real problems helping the super with their ambitions but still maintains their own existence and personality. I also love that weird model-style cocked hip panel of Animal Man. Because Orange and Blue is fabulous.
And with that he is off to investigate the odd happenings in town. Buddy is called in by S.T.A.R. Labs.
After being told he was the D-List in superhero choices, his powers are then questioned, and I can’t help but imagine that Dr. Myers says, “How fascinating” with all the enthusiasm of a older generation carnival worker. We find out good ol’ S.T.A.R. Labs is having research issues with primates. Animal Man finds lots of damage the likes of which he can’t imagine a normal person could have caused.
Much more distressing than that is what they left behind.
Just look at the horrifying state of it: faces of confusion, despair, fear, pain, and anguish dominate the being and this entire page. The melding of vibrant colors and textures create a frenzy of mercurial reasoning. No beginning or end to be found. The fear alone trapped within this panel is enough to give me nightmares. The movement suggested by the being before us is almost nauseating.
What has Buddy gotten himself into?
Thanks for bearing with me on this first foray into our Animal Man adventure. I cannot wait to continue it with you. Expect plenty more parts and more often than usual!
Sorry for the delay everyone. I was at my best friend’s college graduation and sadly the internet was scarce at best.
Onto the show!!!
Starman #0 Sins of the Father Pt 1 1994
There is something to be said of feeling like an outsider. The desperate longing on others, but always just beyond their notice. The feeling like you are the disappointment, or that there is no longer a reason to try and fit in. We have all felt this one at one time or another. We’ve all felt just like Jack Knight.
Nothing says 90’s cool like a bad leather jacket
Starman revels in beautiful colors. A gradient of blues on blues on blues. A grungy blur of shadows. The bright red sigil bursts behind Jack. Breaking up the blues in the most forceful way possible. The only illumination being the sigil and the cosmic rod. Providing illumination in the dark gloomy world we see. Starman’s covers are forever inspiring to me. I see something new into them each time I pursue. The shadow line of a brick, something hidden in the light of the cosmic rod, a extra dark shadow that breaks through the others. The covers are memorizing.
The artwork continues to be lovely and different with just a tad of despair. The grimey bits remind us of a old neighborhood’s side streets. Slight disrepair, but lovely in spite of all the damage, age, and wear.
It’s like a neon Japanese Empire
Enter our backdrop, Opal City. Much like the Opal itself, the city is colorful in spades. Bright colors and lines for the sky a glorious beautiful sunset to behold. The layering of the cityscape giving an amazing texture of crowding and growth like a true urban jungle would.
He’s like caped Captain Morgan on that statue
David Knight surveys the overgrowth of man known as Opal City. It is his paradise to protect. He revels in his role. The panels here are stunning with heavy vector style propaganda shadows
. We see him as a man however he demands we see him as more. As Starman a savior, a unique entity in the universe. Master of his fate, protector of ours.
The first panel show his connection to man the shadow of himself in the statue. The last panels’ golden background meant to show this saviour as an illuminating figure. The dynamic movement and shadow of his boot preparing for flight makes us gasp as though the wind from the rooftop is in our face as well.
And like a flash of lightning……
and the crash of thunder afterwards.
The savior we have just seen is struck down. The entity known to protect and serve us as citizens is taken in the smallest amount of time we can fathom.
The hard vertical lines and bright block colors of opal city only serve to accentuate the speed at which this disaster takes place. The statue of man behind him reminding us once more that he is just as mortal as you or I.
David Knight, Starman, is no more.
The sins of the father carry unto us much like heraldry on a shield in the 12th century. The opening splash page is of David Knight lifeless form looking tarnished and desecrated. Nothing at all like the illuminated savior from the former page. Death is universal and sadly for Starman his light has gone out.
Let us take a moment and travel back to happier times.
A family moment. Ted Knight, David, and Jack all at home and like most families arguing about siblings taking each others things. This is first glimpse we see of Jack Knight and really….Well….He looks like a higher cheek boned Robert Smith of the cure. A little grungey, a little unwholesome, and obviously the shut out one. Ted sides with David pretty easily over the harmless acts of Jack buying old things off of David.
Best way to end an argument Ever.
After Ted sides with David in the argument, Jack does what most younger siblings tend to do…which is say how everything you love is stupid. He immediately has a put foot in mouth moment. But not taking the mantle of Starman from Ted and obviously being mostly disinterested in the idea has caused tension. Like not only not wanting to take on the family farm but not caring if it’s turned into an amusement park either. Jack has found his own identity through his love of antiques. He has no problem not being the superhero.
He is a goth kid on Easter Sunday. Why go to church anyway? They don’t want him.
There’s some really alienating artwork here. With Ted and David illuminated in opposite negative to positive colors to Jack also the facial portraits of Ted and David panel to panel showing the same hard shadow lines the same small chin and angular cheeks. Father to Song always. Jack’s portraits are always from the side or 3/4 view here. Never directly like his family. He is a glimpse of humanity in a family who is a savior to it.
After this fallout we follow Jack into Opal city. His Mundane day of picking up dry cleaning and talking to his roommate with the gorgeous backdrop of the bright almost deco style design of the city is beautiful. The old styling the continual pattern of disrepair but full of charm seeps through. Like a hometown that kept growing, but when you return for a visit you cannot stand anything that was not there before.
At the end of his day he finds an antique shop to visit.
The only labeled antique is from Penn State…What?
Jack is a nostalgic soul. I can relate. The smell of old books, the weathered but strong feeling of a handmade blanket, that pictures of long lost families where now the frame is worth more than the memory; the melancholy of a thrift store knows no bounds. Jack finds peace amongst the relics. They are kind of expatriate to the world around them. From it, but never in sync with it. Similar to how he fits in at home.
The color shift from the first to the second page is brought to you with no extra charge by hallucinogens.
The reality of what happened before returns. David Knight is dead. Ted calls Jack and tells him the details that he knows suspicious all the while. The portraits change to show Ted and Jack in a similar light due to the grief they currently share.
The color saturation disperses in the last panel as Jack is left alone. The grief washes out all the light in his world.
Meanwhile, Ted’s colors go to focus the negative to positive ratio switch like earlier when they were aside from Jack. The focusing neon makes for a tense feeling. We watch the color recede and flood his viewpoint from tense to sad to regret. The feeling of dread that happens after they all mix.
Must have been a Pinto.
The colors from the former page swirl magnificently with danger on the wind. The explosion pulls all the neurosis from the form page into one large shadowy act. We can see that the explosion wasn’t enough and Ted is also shot. The onlooker confirming the action. Her face covered shadows.
We are then drawn back into Jack’s orbit. He’s lamenting on his emotions involving his brother. Wondering if that fact that he doesn’t feel terrible about his brother’s passing makes him horrible.
A strange man enters his shop dressed like a perfect middle ground between a matrix and a blade villain. He asks Jack about various antiques he might sell, but when Jack begins to tell him where to find these things the man cuts him off repeatedly.
Something is wrong. The man begins to ask about weapons. Then declares he killed Starman earlier that evening.
Why does his gun sometimes shoot fire? PKOW!
The color of violence floods the page. When the shooting stops via Jack hitting the man with a body blow the red fades and the panel turns blue. It is neutralized for now.
Jack manages to run but not before taking a hit to the leg. He is searching desperately for the package his father left years ago containing a belt and a Star Rod. Knowing the one thing he has denied is currently the only salvation he can find.
Like a slap to the face his attacker makes it to the belt first. The gods of fate do smile somewhat for Jack Knight however. The attacker throws a grenade after Jack disappears into the fire. Little did he know Jack was looking for his salvation in this baptism of fire.
AVENGE THE SNOW DOMES
Jack finds the Star rod. He greieves for the relics of the past. The ones whom shared in his loneliness. Their existence always a comfort letting him know it’s not just people who are ostracized. These valuable relics showing him that he himself is valuable just maybe not to everyone. He refuses to die not knowing why all these events are happening.
Why now? Why to him. Can’t die not knowing.
Cut to the bad guys like it’s a Thundercats episode.
We see the onlooker of Ted’s car explosion and the Blade villian wannabe. Looking like a goth high school reunion. A currently unseen instructor asking if their assigned tasks are complete. They confirm that the sons of Ted Knight have perished, and Ted Knight himself is in the hospital. He shows himself excited at the prospect of Ted Knight’s life being living torment rather than just death.
This is what it looks like when the Crypt Keeper has a drink.
Cut to our dearest disabled Jack Knight. He shambles through the street trying to make sense of the days events in his mind. His body battered. His mental strength strained. He pulls himself onward.
Wondering what happened. Where should he go? He’s not Starman. What can he do?
I really really want a Munsters View Master now.
To his father’s side, the forgotten son forges on.
Hope you’ve enjoyed this journey with me.
Starman meant a lot to me when I was young. I used to go and take the issues from my brother’s room when he was out. Rereading them and letting the colors soak in. I had never seen anything like them. I still don’t feel like I have. Jack’s desire to get along with his family, but knowing he’s fundamentally different from them struck a chord with me as well. I just wanted him to find something to believe in. Something we could both believe in. Find our place no matter where it might be.
Well, I figured if I could believe in Jack maybe he could believe in me too. To find that moral compass, that sanctuary to be yourself, that salvation…the understanding that I could save myself.
Hey there! Welcome to a very special installment of The Unspoken Decade, as this is our first foray into the AMAZING Super-Blog Team-Up! After you’re done enjoying our article here, check out the other great blogs participating in this go-round of the Super-Blog Team-Up! Aw, who the hell am I kidding? Those blogs are so great, you’re probably going to go read them first. Reckon I can’t blame you, so go ahead and scope them out! I will wait.
You’re back? Fantastic! Hope you had a most excellent time, and I just want to say how honored we are here at The Unspoken Decade to be a part of the Super-Blog Team-Up, even if it has meant one of the busiest weeks of my life! Regular readers of the best 90’s comics blog in the universe know that our usual post date is Monday, and I know that all of you enjoyed that kickass X-Force article. A few of you even enjoyed the Mike Mignola X-Force surprise post yesterday, but this is now our third straight day with a post, a first here, and between this and the two LIVE radio shows I know all y’all listen to every week (Compton After Dark and Her Dork World/His Dork World), and working 6 days a week at my regular job, I have been working my fingers to the bone!
But no matter how bad I have had it this week, two of the greatest heroes of all time had it much worse in the early 90’s. There’s no way anyone, superhero fan or not, who was alive and cognizant in the early 90’s could forget the furor and hoopla over the death of Superman and the breaking of Batman’s back. The latter did not create the firestorm that the former did, most likely because it came after Superman’s demise and at the same time as his rebirth, but it still caused ripples in the mainstream media, a place that comics were rarely able to venture into in the early 90’s, although that notion seems silly now, as we are in an era where super hero movies routinely dominate the box office. But as usual, I digress.
From what I understand, it was Jerry Ordway’s idea to kill Superman. Superman had four monthly titles then, and the creative teams worked closely together so that the four titles (Superman, Action Comics, Adventures of Superman, Superman: The Man of Steel) basically meshed together to make what was essentially a weekly series. Not being a giant Superman fan, that seems like more than a bit much. I’m sure the Superman fans were ecstatic, but I didn’t know either of them. None of my pals were into Superman. He was seen as a relic, and the four titles were ignored by us and the world; they were to be seen as a stepping stone to license underoos and usually shitty video games.
Then they decided to kill him.
Don’t let the snark in my statement fool you; I fucking love Doomsday in this suit. He looks creepy to me, and somehow even deadlier than when he loses the suit and has BONES THAT STICK OUT OF HIS KNEES. I like his look and all, but I think it is hilarious that the guy who iced the Big Red S has such a feature. It just seems silly and too “comic booky,” but then again, not only is this guy’s name Doomsday, but this also is a comic book, so I guess I can let knee-bones go.
One thing Doomsday and I have in common is an intense hatred of birds. DC decided a great way to get me to hate Doomsday would be to have him kill a bird with his hand, and while I am not the kind of person who is cruel to animals, if Doomsday wants to kill a wild bird, power to him. I fucking hate birds.
Seriously, why would that bird leave the flock just to fly over to Doomsday and meet its demise? Perhaps it was sad and ostracized by the others. We will never know now. What we do know is that if we are to take Doomsday seriously as a villain, he must beat some enemy greater than a lonely bird who had no flock friends.
ENTER THE JUSTICE LEAGUE OF AMERICA!
I guess technically they were not the Justice League OF America, as their title was just “Justice League America,” and they also had a counterpart in Europe, cleverly titled “Justice League Europe”. When I was in 7th grade, I “made up” a team called The Protection Agency, and then placed them all over the globe. “Protection Agency Asia” and “Protection Agency Australia” were two of the teams, and if you don’t get the pattern from those two, I am not sure you should be allowed to read this or any blog.
I was accused, rightfully so, by my pals of just copying Justice League. Of course, I could not admit this, so I clung as hard as I could to the fact that I put a Protection Agency on every continent and not just two, thus making my idea much different than JLA or JLE. Yeah, they didn’t buy it either. What we all bought, or at least tried to buy, was this:
The JLA had little identity in this time. They were past the Maguire/Giffen/Dematteis humorous BWAHAHAHAHA era (which should be checked out by those who haven’t ever seen those JL comics. They are as good as you have been told.), but they haven’t really established themselves as anything but a generic super-hero team. They are a group of B-Listers and The Man of Tomorrow. I’m not knocking these guys; I am a fan of all of them, and I especially love Guy Gardner and Blue Beetle. My sister, Angel Hayes (who does work here at The Unspoken Decade too), is a giant Booster Gold fan. But there’s something about this team that just doesn’t work for me. Maybe it is Maxima, a former Superman villain, being on the team, or maybe it is a lack of Martian Manhunter at this time, but it just doesn’t always feel like the JLA. I do like them, though, because as I have said in other entries, this is MY era, so this was MY JLA in a certain sense. Even the JLA with Nuklon and Blue Devil holds a near and dear place to my heart, although Morrison’s JLA did eventually supplant this group as MY JLA later.
I wonder if that powerhouse line-up in Morrison’s JLA could have done better against Doomsday than this Justice League did. One thing is for sure: They could not have done much worse.
As bad as Guy Gardner got it, he didn’t lose out nearly as badly as Blue Beetle, who was literally beaten into a coma. I’m not one of those folks who misuses literally, so you can stop cringing now.
As Blue Beetle lay dying, his best friend was hurtling through the sky, having been punched by Doomsday. REALLY HARD. Thankfully, Booster Gold literally has friends in high places. Now you can cringe.
The books do a fantastic job of very quickly getting Doomsday over as a force to be reckoned with. What made him even more palatable to readers, especially readers my age when this came out, is the fact that Doomsday was shrouded in mystery. I don’t mean that he was wearing that awesome Night Trap villain suit; I mean that no one knew who he was. I think nearly every character that got hot in the early 90’s had a past that was at least cloudy, if not as outright murky as The Everglades at midnight on an overcast night. Ghost Rider, Cable, and Wolverine all immediately spring to mind as examples of this phenomenon.
Sacrificing the JLA, even if it wasn’t your Daddy’s JLA or even Grant Morrison’s JLA, made Doomsday seem formidable, but the next question had to be how they’d make Superman seem just as formidable. The answer is an old-school wrestling tactic: THE NO-SELL!
Then they beat on each other. A LOT! This had to be one of the most savage fights in the history of Superman, and it had to happen against the most savage opponent he ever faced. You would think that whoever killed Superman should have been well-known, but I think having the character that killed Superman (and the character that broke the Batman) comes out of nowhere really showed the inherent danger of being a superhero. Since we know that these stories are fictional, we can forget how serious these adventures can be. Having a new guy come out of the woodwork and destroy an established character reminds the audience of that danger, thus inspiring new interest.
Doomsday is also one of those characters, much like Punisher and Hulk, who is more of a force of nature than they are people or people-like entities. Doomsday seems to exist just to destroy whatever gets in his path, and he had no direction. That is, until he found pro wrestling.
Once again, wrestling is to blame for destroying everything. Of course, being the huge wrestling fan that I am, I would actually be interested in WarBash. This card spelled doom for the citizens of Metropolis, though, as this is the moment that Doomsday became aware that he no longer had to use the Disney secret of calling birds to himself so he could subsequently kill them. No longer would he have to wait for a cadre of costumed heroes to attack him. He knew there was a battle waiting for him in Metropolis in the form of Major Mayhem!
Despite looking more like the lead singer of The Village People than a legitimate World Heavyweight Champion, Major Mayhem was able to teach the DC Universe’s most formidable force of nature the geography lesson that led to the death of Earth’s Greatest Hero. He now knew of Metropolis. One smashed road sign later, and somewhere in the distance Death of The Endless put on her blackest makeup and coolest ankh and headed for Metropolis as well. (Spoiler Alert: She isn’t in any of these comics.)
Superman, the world’s mightiest hero, seems to be very out of his league here. In a single swoop, Doomsday would eviscerate Superman, and punch the 90’s Supergirl (who will one day get a write-up here!)into goop.
Fearsome. I think this was the first time I ever saw Superman bleed. This was also from the first issue of the storyline I was able to pick up. Every time I hit the LCS then, the Doomsday stuff was sold out. My mom managed to snag this one for me. I remember trying to keep it in near-mint condition as I watched the Wizard articles tell me that its price was climbing higher and higher, but I also was completely overwhelmed by the comic and just had to read it over and over. This meant an early demise for what I thought was going to be worth a fortune forever, but in hindsight, there were very few comics I loved more than the one where Supergirl fell to Doomsday.
Despite the setbacks and despite Doomsday’s rampant brutality, Superman remains valiant and steadfast in his belief that he will stop this creature, no matter what takes. The determination shines through, and you believe that a Superman will die.
Dan Jurgens does an amazing job with Superman #75. Every page is a single panel; every panel is a story, culminating in an epic showdown where Superman’s Double-Axehandle is pitted against a big haymaker from Doomsday. Jurgens shows us not just how Superman appeared to the world, but also to those closest to him. This makes his imminent death personal, and not just the death of an icon that we have all been familiar with since before we could read. Before we see The Man of Tomorrow die, we must see him live.
The entire saga is amazing, as we see a World Without a Superman, and the Return of Superman was really clever, with four men claiming to be Superman. Doomsday was the perfect entity to destroy Superman. He’s a monster from his opening panel until his demise alongside The Man of Steel. His relentless onslaught was more than even Superman can handle, and even though it cost Doomsday his life, he can say what few villains can; he not only defeated, but he killed Superman. Such a feat alone makes him worthy of inclusion in the villains entry for this go-round of Super-Blog Team Up.
However, Superman was not the only iconic superhero to fall prey to a villain. He wasn’t even the only iconic hero to fall to a brand new villain. In the case of the Caped Crusader, Bane was able to do something adversaries like The Joker, The Riddler, or even KGBeast had been unable to do, and that is break Batman.
Bane first appeared in the Chuck Dixon/Graham Bolan special, Batman: Vengeance of Bane. I actually bought this off the shelf when it first came out. I loved the cover, and I loved one-shots. Due to my status as poor white trash, I was sometimes unable to get all the parts of a multi-part story, and so one-shots appealed to me, and how could a cover like this not appeal to anyone?
I said on my entry here on Punisher: War Zone #1 that Chuck Dixon probably only wrote one masterpiece, but after reading VoB, I have to reconsider my stance. This is amazing. By the time you are finished with it, you both feel sorry for and repulsed by Bane. He got a rather raw deal in life, but he somehow turns it all to his advantage.
You start out feeling badly for Bane, as he has been “trapped in a world he never made!” in a much more harsh way than we ever saw happen to Howard the Duck. Many folks, myself included, sometimes complain about the cards life handed us, but this story reminds us that there are many, especially in the third world, that have it so much worse than us. Bane was screwed before he ever tasted oxygen.
Bane could have allowed that to damn him, but he instead rises to the challenge and makes himself king of the prison. First, though, he has an accident that bashes his head and renders him comatose. He has a vision of his future self while unconscious that inspires him to rise to the occasion by becoming stronger than all those around him. Bane starts quickly after emerging from the coma, as the inmate who offered Bane what seemed to be unsavory employment gets his quickly…
Bane gets sent back to solitary for this, and when he emerges this time, he is a man on a mission. He picks up a few henchmen in the prison, and begins his takeover. He also learns to read, which I like to think was inspired by pirated broadcasts of Reading Rainbow starring LeVar Burton, but that probably isn’t true.
Soon, ruling the prison just isn’t enough for Bane, who has become the pinnacle of prowess via sheer will, concentration, and determination. His thirst for knowledge in these books means he soon learns of a great world outside of these walls, and he finds himself wanting to know all about it. He is intrigued when his henchman Bird (who can seemingly talk to Birds, so it isn’t just a clever name) tells him of Gotham City and Batman. Bane decides he is to rule Gotham.
Bane is then placed into an experiment in the prison using the drug Venom, which had been featured in the Batman comics prior to this. Bruce Wayne even got addicted to it. Bane survives experiment after experiment in the prison, and eventually, engineers a way off the island.
Now that he has escaped the prison, Bane is in Gotham City, learning the ropes, and discovering television, in the early 90’s, I would have had to recommend USA Up All Night to him. Being the savvy guy that he is, I am sure that he found Rhonda Sheer and Gilbert Gottfried all on his own.
He was also able to start carving a piece of the Gotham City underworld out for himself with the help of his henchmen. That was just the start of what would eventually culminate in this…
Batman was broken. Superman was dead. The 90’s brought you the villains who fulfilled the promises of all the Golden, Silver, and Bronze Age villains that preceded them. They destroyed the icons of good, maybe not forever, but more thoroughly than any who came before them. These two characters also became firmly entrenched in the lore of Batman and Superman, showing up in cartoons, movies, and one of the most underrated beat ‘em up games of all time.
These villains had to be larger than life, bigger than Gods and a 90’s kind of extreme in order to triumph over the greatest superheroes of all time, but they did so with aplomb, and remember, it all happened in The Unspoken Decade…
Now head on over to the articles listed below and enjoy Super –Blog Team-Up!!! Thanks for stopping in with The Unspoken Decade! Special post tomorrow, and then next Monday, take a look at Starman!!!! Also, check me out LIVE on internet radio Thursday nights at midnight for Her Dork World, His Dork World, and on Sunday nights at 11:30 Eastern for Compton After Dark!!!