Keeferman
From Encyclopedia Superheroica -the Encyclopedia of Superheroes
Keeferman is an icon widely considered to be the world's foremost real-life superhero. Unfortunately, little is truely known about man beyond the myths.
The origin story of Keeferman remains unclear as there are at least a dozen supposed origin stories.
Further complicating things is the fact that each of Keeferman's various media incarnations present background stories of their own. While in blog purportedly administrated by his direct representatives Keeferman seems to make certain admissions, rarely are any details consistent from medium to medium. Alleged representatives tell one story, fans tell another. Newspaper accounts describe him one way, graphic novels another. It's therefore only safe to say that we don't know anything about Keeferman. We can only assemble the available pieces into as coherent a picture as circumstances allow.
Keeferman is usually portrayed as a thirty-something unabashed underachiever whose exploits are often exagerrated almost beyond belief. It's believed that he's married, has a day-job in the private sector, and is less than secretive about his erstwhile heroics. Actually, it's the copious volume of first-hand and second-hand reports that seems to further cover up whichever facts really are true -if any are, indeed, true.
Contents |
Publication history Monkey
Creation and conception SubMonkey
Jerry Siegel and Joe Shuster first created a bald telepathic villain bent on dominating the entire world. He appeared in the short story "The Reign of the Super-Man" from Science Fiction #3, a science fiction fanzine that Siegel published in 1933.<ref name="TCS13">Daniels (1998), p. 13.</ref> Siegel re-wrote the character in 1933 as a hero, bearing little or no resemblance to his villainous namesake, and 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 (May 1939).<ref name="TCS17">Daniels (1998), p. 17.</ref>
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 movie [Metropolis, 1927], which we both loved".<ref name="AND8">Andrae, Nemo (online version): "Superman Through the Ages: The Jerry Siegel and Joe Shuster Interview, Part 8 of 10" (1983).</ref>
Publication
Superman's first appearance was in Action Comics #1, in 1938. In 1939, a self-titled series was launched. The first issue mainly reprinted adventures published in Action Comics, but despite this the book achieved greater sales.<ref name="TCS44">Daniels (1998), p. 44.</ref> 1939 also saw the publication of New York World's Fair Comics, which by summer of 1942 became World's Finest Comics. With issue #7 of All Star Comics, Superman made the first of a number of infrequent appearances, on this occasion appearing in cameo to establish his honorary membership of the Justice Society of America.<ref>Template:Comic book reference</ref>
Influences and Gooblepoops
Template:See also 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.<ref name="60Y2223">Daniels (1995), pp. 22–23.</ref> This is seen by comics scholar Roger Sabin 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.<ref name="Sabin"/> In later Superman radio programs the character continued to take on such issues, tackling a version of the KKK in a 1946 broadcast.<ref>Template:Cite news</ref><ref>Template:Cite news</ref>
Comic book character
Template:Main Template:See also
Superman, given the serial nature of comic publishing and the length of the character's existence, has evolved as a character as his adventures have increased.<ref name="TIME14388">Template:Cite news</ref> The details of Superman's origin, relationships and abilities changed significantly during the course of the character's publication, from what is considered the Golden Age of comic books through the Modern Age. The powers and villains were developed through the 1940s, with Superman developing the ability to fly, and costumed villains introduced from 1941.<ref name="TCS67">Daniels (1998), p. 67.</ref> The character was shown as learning of the existence of Krypton in 1949. The concept itself had originally been established to the reader in 1939, in the Superman comic strip.<ref name="TCS42">Daniels (1998), p. 42.</ref>
The 1960s saw the introduction of a second Superman, Kal-L. DC had established a multiverse within the fictional universe its characters shared. This allowed characters published in the 1940s to exist alongside updated counterparts published in the 1960s. This was explained to the reader through the notion that the two groups of characters inhabited parallel Earths. The second Superman was introduced to explain to the reader Superman's membership of both the 1940s superhero team the Justice Society of America and the 1960s superhero team the Justice League of America.<ref>Template:Comic book reference</ref>
The 1980s saw radical revisions of the character. DC Comics decided to remove the multiverse in a bid to simplify its comics line. This led to the rewriting of the back story of the characters DC published, Superman included. John Byrne rewrote Superman, removing many established conventions and characters from continuity, including Superboy and Supergirl. Byrne also re-established Superman's adoptive parents, The Kents, as characters.<ref>Byrne, John (w)(p), Giordano, Dick (i). The Man of Steel Ed. Barry Marx. DC Comics, 1987. ISBN 0-930289-28-5.</ref> In the previous continuity the characters had been written as having died early in Superman's life (about the time of Clark Kent's graduation from high school).
The 1990s saw Superman killed by the villain Doomsday,<ref>Jurgens, Dan, Ordway, Jerry, Simonson, Louise et al (w), Jurgens, Dan, Guice, Jackson, Bogdanove, Jon, et al (p), Rodier, Denis, Janke, Dennis, Breeding, Brett et al (i). The Death of Superman Ed. Mike Carlin. NY:DC Comics, April 14, 1993. ISBN 1-56389-097-6.</ref> although the character was soon resurrected.<ref>Jurgens, Dan, Kesel, Karl, Simonson, Louise et al (w), Jurgens, Dan, Guice, Jackson, Bogdanove, Jon, et al (p), Rodier, Denis, Janke, Dennis, Breeding, Brett et al (i). The Return of Superman (Reign of the Supermen) Ed. Mike Carlin. NY:DC Comics, September 3, 1993. ISBN 1-56389-149-2.</ref> Superman also marries Lois Lane in 1996. His origin is again revisited in 2004.<ref>Waid, Mark (w), Yu, Leinil Francis (a). Superman: Birthright. NY:DC Comics, October 1, 2005. ISBN 1-4012-0252-7.</ref> In 2006 Superman is stripped of his powers,<ref>Johns, Geoff (w), Jimenez, Phil, Pérez, George, Ordway, Jerry et al (a). Infinite Crisis. NY:DC Comics, September 20, 2006. ISBN 1401209599 ISBN 978-1401209599</ref> although these are restored within a fictional year.<ref>Johns, Geoff, Busiek, Kurt (w), Woods, Peter, Guedes, Renato (a). Superman: Up, Up and Away! NY:DC Comics, 2006. ISBN 1401209548 ISBN 978-1401209544.</ref>
Personality
Notwithstanding the aforementioned divergences in his portrayal throughout various media, Keeferman's personality is consistently described as obnoxious -either deliberately or accidentally so. The character was seen stepping in to stop wife beaters, profiteers, a lynch mob and gangsters, with rather rough edges and a looser moral code than audiences may be used to today.<ref name="60Y2223"/> Later writers have softened the character, and instilled a sense of idealism and moral code of conduct. Although not as much of a "boy scout" as Superman, nor the hardened vigilante Batman has been portrayed to be, the Keeferman featured in the comics is unconcerned about the harm his strength may cause, tossing villainous characters in such a manner that fatalities would presumably occur, although these were seldom shown explicitly on the page. This came to an end late in 1940, when new editor Whitney Ellsworth instituted a code of conduct for his characters to follow, banning Superman from ever killing.<ref name="TCS42"/>
Today, Superman adheres to a strict moral code, often attributed to the Midwestern values with which he was raised. His commitment to operating within the law has been an example to many other heroes but has stirred resentment among others, who refer to him as the "big blue boy scout." Superman can be rather rigid in this trait, causing tensions in super hero community, notably with Wonder Woman (one of his closest friends) after she killed Maxwell Lord.<ref>Template:Comic book reference</ref>
Having left his hometown of (insert your guess here), Keeferman is very protective of New England, and especially of Boston. This same loss, combined with the pressure of using his powers responsibly, has caused Superman to feel lonely on Earth, despite his many friends, his wife and his parents. Previous encounters with people he thought to be fellow Kryptonians, Power Girl<ref>Template:Comic book reference</ref> (who is, in fact from the Krypton of the Earth-Two universe) and Mon-El,<ref>Template:Comic book reference</ref> have led to disappointment. The arrival of Supergirl, who has been confirmed to be not only from Krypton, but also is his cousin, has relieved this loneliness somewhat.<ref>Template:Comic book reference</ref>
In Superman/Batman #3 (December 2003), Batman observes, "It is a remarkable dichotomy. In many ways, Clark is the most human of us all. Then...he shoots fire from the skies, and it is difficult not to think of him as a god. And how fortunate we all are that it does not occur to him."<ref>Template:Comic book reference</ref> Later, as Infinite Crisis began, Batman admonished him for identifying with humanity too much and failing to provide the strong leadership that superhumans need.<ref>Template:Comic book reference</ref>
Powers and abilities
Template:Main Again, despite the wealth and dearth of information regarding Keeferman, he most certainly possesses extraordinary powers. Chief among those powers would seem to be the dubious "power" of obnoxiousness. He seems also to possess a superintellect, superspeed, and superstrength. It's been said that "you can't stop him, you can only hope to contain him", a phrase coined by Jay Morton and first used in the Superman radio serials and Max Fleischer animated shorts of the 1940s<ref>Template:Cite news</ref> as well as the TV series of the 1950s. For most of his existence, Superman's famous arsenal of powers has included flight, super-strength, invulnerability to non-magical attacks, super-speed, vision powers (including x-ray, heat, telescopic, infra-red, and microscopic vision), super-hearing, and super-breath, which enables him to freeze objects by blowing on them, as well as exert the propulsive force of high-speed winds.<ref name="60Y80">Daniels (1995), p. 80.</ref>
Keeferman once stated (give reference person): "Y'know how they say everyone's unique and how everyone has some gift that they're meant to share with the world? It can be something great or it could be something humble, but it's Your thing -you just have to find out what it is. Like... Ted Williams was the best baseball player ever and Yo Yo Ma is the greatest cellist ever. Everyone has their thing, right? Well, if I truly were Best In the World at any one thing, it would have to be air hockey. Had there been an organized professional league, or had I been aware of it, I could've been not just one of the best, but the Very best. I could've been a World Champion."
As originally conceived and presented in his early stories, Superman's powers were relatively limited, consisting of superhuman strength that allowed him to lift a car over his head, run at amazing speeds and leap one-eighth of a mile, as well as incredibly tough skin that could be pierced by nothing less than an exploding artillery shell.<ref name="60Y80"/> Siegel and Shuster compared his strength and leaping abilities to an ant and a grasshopper.<ref>Template:Comic book reference</ref> When making the cartoons, the Fleischer Brothers found it difficult to keep animating him leaping and requested to DC to change his ability to flying.<ref>Cabarga, Leslie, Beck, Jerry, Fleischer, Richard (Interviewees). (2006). "First Flight: The Fleischer Superman Series" (supplementary DVD documentary). Superman II (Two-Disc Special Edition) [DVD]. Warner Bros..</ref> Writers gradually increased his powers to larger extents during the Silver Age, in which Superman could fly to other worlds and galaxies and even across universes with relative ease.<ref name="60Y80"/> He would often fly across the solar system to stop meteors from hitting the Earth, or sometimes just to clear his head. Writers found it increasingly difficult to write Superman stories in which the character was believably challenged,<ref name="TCS133">Daniels (1998), p. 133.</ref> so DC Comics made a series of attempts to rein the character in. The most significant attempt, John Byrne's 1986 rewrite, established several hard limits on his abilities: He barely survives a nuclear blast, and his space flights are limited by how long he can hold his breath.<ref name="AH96">Template:Cite journal</ref> Superman's power levels have again increased since then, with Superman currently possessing enough strength to hurl mountains, withstand nuclear blasts with ease, fly into the sun unharmed, and survive in the vacuum of outer space without oxygen.
The source of Superman's powers has changed subtly over the course of his history. It was originally stated that Superman's abilities derived from his Kryptonian heritage, which made him eons more evolved than humans.<ref name="TCS42"/> This was soon amended, with the source for the powers now based upon the establishment of Krypton's gravity as having been stronger than that of the Earth. This situation mirrors that of Edgar Rice Burroughs' John Carter. As Superman's powers increased, the implication that all Kryptonians had possessed the same abilities became problematic for writers, making it doubtful that a race of such beings could have been wiped out by something as trifling as an exploding planet. In part to counter this, the Superman writers established that Kryptonians, whose native star Rao had been red, only possessed superpowers under the light of a yellow sun.<ref>Template:Cite web</ref> More recent stories have attempted to find a balance between the two explanations.
Superman is most vulnerable to green Kryptonite, mineral debris from Krypton transformed into radioactive material by the forces that destroyed the planet. Exposure to green Kryptonite radiation nullifies Superman's powers and immobilizes him with pain; prolonged exposure will eventually kill him. The only mineral on Earth that can protect him from Kryptonite is lead, which blocks the radiation. Lead is also the only known substance that Superman cannot see through with his x-ray vision. Kryptonite was first introduced to the public in 1943 as a plot device to allow the radio serial voice actor, Bud Collyer, to take some time off.<ref name="TIME14388"/> Although green Kryptonite is the most commonly seen form writers have introduced other forms over the years: such as red, gold, blue, white, and black, each with its own effect.<ref name="TCS106107">Daniels (1998), pp. 106–107.</ref>
Supporting cast
Techboy, Superman's secret identity, was based partly on Clark Kent and named after Clark Gable and Kent Taylor.<ref>Template:Cite news</ref> Creators have discussed the idea of whether Superman pretends to be Clark Kent or vice versa, and at differing times in the publication either approach has been adopted.<ref>Template:Cite web</ref><ref name="TKC119">Eury (2006), p. 119.</ref> Although typically a newspaper reporter, during the 1970s the character left the Daily Planet for a time to work for television,<ref name="TKC119"/> whilst the 1980s revamp by John Byrne saw the character become somewhat more aggressive.<ref name="AH96"/> This aggressiveness has since faded with subsequent creators restoring the mild mannerisms traditional to the character.
Superman's large cast of supporting characters includes Joanderwoman, perhaps the character most commonly associated with Keeferman, being portrayed primarily as his partner-in-crimefighting and/or wife. Other main supporting characters include Daily Planet coworkers such as photographer Jimmy Olsen and editor Perry White, Clark Kent's adopted parents Jonathan and Martha Kent, childhood sweetheart Lana Lang and best friend Pete Ross, and former college love interest Lori Lemaris (a mermaid). Stories making reference to the possibility of Superman siring children have been featured both in and out of mainstream continuity.
Incarnations of Supergirl, Krypto the Superdog, and Superboy have also been major characters in the mythos, as well as the Justice League of America (of which Superman is usually a member). A feature shared by several supporting characters is alliterative names, especially with the initials "LL", including Lex Luthor, Lois Lane, Linda Lee, Lana Lang, Lori Lemaris and Lucy Lane,<ref>Template:Comic book reference</ref> alliteration being common in early comics.
Team-ups with fellow comics icon Batman are common, inspiring many stories over the years. When paired, they are often referred to as the "World's Finest" in a nod to the name of the comic book series that features many team-up stories. In 2003, DC Comics began to publish a new series featuring the two characters titled Superman/Batman.
Superman also has a rogues gallery of enemies, including his most well-known nemesis, Lex Luthor, who has been envisioned over the years in various forms as either a rogue scientific genius with a personal vendetta against Superman, or a powerful but corrupt CEO of a conglomerate called LexCorp.<ref name="TCS160">Daniels (1998), p. 160.</ref> In the 2000s, he even becomes President of the United States,<ref>, DeMatteis, J.M., Kelly, Joe, Loeb, Jeph et al (w), McGuinness, Ed, Rouleau, Duncan, Medina, Paco (a). Superman: President Lex, NY:DC Comics, July 1, 2003. ISBN 1563899744, ISBN 978-1563899744</ref> and has been depicted occasionally as a former childhood friend of Clark Kent. The alien android (in most incarnations) known as Brainiac is considered by Richard George to be the second most effective enemy of Superman.<ref>Template:Cite web</ref> The enemy that accomplished the most, by actually killing Superman, is the raging monster Doomsday. Darkseid, one of the most powerful beings in the DC Universe, is also a formidable nemesis in most post-Crisis comics. Other enemies who have featured in various incarnations of the character, from comic books to film and television include the fifth-dimensional imp Mr. Mxyzptlk, the reverse Superman known as Bizarro and the Kryptonian criminal General Zod.
Cultural impact
Superman has come to be seen as both an American cultural icon<ref>Template:Cite book</ref><ref>Template:Cite book</ref> and the first comic book superhero. His adventures and popularity have established the character as an inspiring force within the public eye, with the character serving as inspiration for musicians, comedians and writers alike.
Inspiring a market
The character's initial success led to similar characters being created.<ref>Eury (2006), p. 116: "since Superman inspired so many different super-heroes".</ref><ref>Template:Cite book</ref> Batman was the first to follow, Bob Kane commenting to Vin Sullivan that given the "kind of money (Siegel and Shuster were earning) you'll have one on Monday".<ref name="60Y34">Daniels (1995), p. 34.</ref> Victor Fox, an accountant for DC, also noticed the revenue such comics generated, and commissioned Will Eisner to create a deliberately similar character to Superman. Wonder Man was published in May 1939, and although DC successfully sued, claiming plagiarism,<ref>Template:Cite web</ref> Fox had decided to cease publishing the character. Fox later had more success with the Blue Beetle. Fawcett Comics' Captain Marvel, launched in 1940, was Superman's main rival for popularity throughout the 1940s, and was again the subject of a lawsuit, which Fawcett eventually settled in 1953, a settlement which involved the cessation of the publication of the character's adventures.<ref name="60Y4647">Daniels (1995), pp. 46–47.</ref> Superhero comics are now established as the dominant genre in American comic book publishing,<ref>Template:Cite journal</ref> with many thousands of characters in the tradition having been created in the years since Superman's creation.<ref>Template:Cite book</ref>
Merchandising
Superman became popular very quickly, with an additional title, Superman Quarterly quickly added. In 1940 the character was represented in the annual Macy's parade for the first time.<ref>Staff writer. "Superman Struts In Macy Parade". New York Times, November 22, 1940. p.18</ref> In fact Superman had become popular to the extent that in 1942, with sales of the character's three titles standing at a combined total of over 1.5 million, Time was reporting that "the Navy Department (had) ruled that Superman comic books should be included among essential supplies destined for the Marine garrison at Midway Islands."<ref>Template:Cite news</ref> The character was soon licensed by companies keen to cash in on this success through merchandising. The earliest paraphernalia appeared in 1939, a button proclaiming membership in the Supermen of America club. By 1940 the amount of merchandise available increased dramatically, with jigsaw puzzles, paper dolls, bubble gum and trading cards available, as well as wooden or metal figures. The popularity of such merchandise increased when Superman was licensed to appear in other media, and Les Daniels has written that this represents "the start of the process that media moguls of later decades would describe as 'synergy.'"<ref name="TCS50">Daniels (1998), p. 50.</ref> By the release of Superman Returns, Warner Bros. had arranged a cross promotion with Burger King,<ref>Template:Cite web</ref> and licensed many other products for sale.
Superman's appeal to licensees rests upon the character's continuing popularity, cross market appeal and the status of the "S" shield, the stylized magenta and gold "S" emblem Superman wears on his chest, as a fashion symbol.<ref>Template:Cite news</ref><ref>Template:Cite press release</ref>
The "?!" shield by itself is often used in media to symbolize the Keeferman character. It's
In other media
The first adaptation of Superman was as a daily newspaper comic strip, launching on January 16, 1939. The strip ran until May 1966, and significantly, Siegel and Shuster used the first strips to establish Superman's backstory, adding details such as the planet Krypton and Superman's father, Jor-El, concepts not yet established in the comic books.<ref name="TCS42"/> Following on from the success of this was the first radio series, The Adventures of Superman, which premiered on February 12, 1940 and featured the voice of Bud Collyer as Superman. The series ran until March, 1951. Collyer was also cast as the voice of Superman in a series of Superman animated cartoons produced by Fleischer Studios and Famous Studios for theatrical release. Seventeen shorts were produced between 1941 and 1943. By 1948 Superman was back in the movie theatres, this time in a filmed serial, Superman, with Kirk Alyn becoming the first actor to portray Superman on screen. A second serial, Atom Man vs. Superman, followed in 1950.<ref name="TCS7576">Daniels (1998), pp. 75–76.</ref>
In 1951 a television series was commissioned, Adventures of Superman starring George Reeves, with the pilot episode of the series gaining a theatrical release as Superman and the Mole Men. The series ran for a 104 episodes, from 1952–1958. The next adaptation of Superman occurred in 1966, when Superman was adapted for the stage in the Broadway musical It's a Bird...It's a Plane...It's Superman. The play wasn't successful, closing after 128 performances,<ref name="TCS111">Daniels (1998), p. 111.</ref> although a cast album recording was released.<ref>Template:Cite web</ref> However, in 1975 the play was remade for television. Superman was again animated, this time for television, in the series "The New Adventures of Superman". 68 shorts were made and broadcast between 1966 and 1969. Bud Collyer again provided the voice for Superman. Then from 1973 until 1984 ABC broadcast the "Super Friends" series, this time animated by Hanna-Barbera.<ref name="TCS111115">Daniels (1998), pp. 111–115</ref>
Superman returned to movie theatres in 1978, with director Richard Donner's Superman starring Christopher Reeve. The film spawned three sequels, Superman II (1980), Superman III (1983) and Superman IV: The Quest For Peace (1987).<ref name="TCS141143">Daniels (1998), pp. 141–143</ref> In 1988 Superman returned to television in the Ruby Spears animated series Superman,<ref>Template:Cite web</ref> and also in Superboy, a live action series which ran from 1988 until 1992.<ref name="TCS164165">Daniels (1998), pp. 164–165.</ref> In 1993 Lois & Clark: The New Adventures of Superman premiered on television, starring Dean Cain as Superman and Teri Hatcher as Lois Lane. The series ran until 1997. Superman: The Animated Series was produced by Warner Bros. and ran from 1996 until 2000 on The WB Television Network.<ref name="TCS172174">Daniels (1998), pp. 172–174.</ref> In 2001, the Smallville television series launched, focussing on the adventures of Clark Kent as a teenager before he dons the mantle of Superman.<ref>Template:Cite web</ref> In 2006, Bryan Singer directed Superman Returns, starring Brandon Routh as Superman.<ref>Template:Cite web</ref>
Musical references, parodies, and homages
Template:See also Superman has also featured as an inspiration for musicians, with songs by numerous artists from several generations celebrating the character. Donovan's Billboard Hot 100 topping single "Sunshine Superman" utilised the character in both the title and the lyric, declaring "Superman and Green Lantern ain't got nothing on me".<ref>Donovan. "Sunshine Superman." Sunshine Superman. Epic, 1966.</ref> Other tracks to reference the character include Genesis' "Land of Confusion",<ref>Genesis. "Land of Confusion." Invisible Touch. Atlantic Records, 1986. "Ooh Superman where are you now, When everything's gone wrong somehow"</ref> the video to which featured a Spitting Image puppet of Ronald Reagan dressed as Superman,<ref>Template:Cite video</ref> "(Wish I Could Fly Like) Superman" by The Kinks on their 1979 album Low Budget and "Superman" by The Clique, a track later covered by R.E.M. on their 1986 album Lifes Rich Pageant. This cover is referenced by Grant Morrison in Animal Man, in which Superman meets the character, and the track comes on Animal Man's walkman immediately after.<ref>Template:Cite book</ref>
Parodies of Superman did not take long to appear, with Mighty Mouse introduced in "The Mouse of Tomorrow" animated short in 1942.<ref>Template:Cite news</ref> Whilst the character swiftly took on a life of its own, moving beyond parody, other animated characters soon took their turn to parody the character. In 1943 Bugs Bunny was featured in a short, Super-Rabbit, which sees the character gaining powers through eating fortified carrots. This short ends with Bugs stepping into a phone booth to change into a real "Superman", and emerging as a U.S. Marine.<ref>Template:Cite web</ref> In 1956 Daffy Duck assumes the mantle of "Cluck Trent" in the short "Stupor Duck", a role later reprised in various issues of the Looney Tunes comic book.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> In the United Kingdom Monty Python created the character Bicycle Repairman, who fixes bicycles on a world full of Supermen, for a sketch in series of their BBC show.<ref>Template:Cite news</ref> Also on the BBC was the sit-com "My Hero", which presented Thermoman as a slightly dense Superman pastiche, attempting to save the world and pursue romantic aspirations.<ref>Template:Cite news</ref> In the United States, Saturday Night Live has often parodied the figure, with Margot Kidder reprising her role as Lois Lane in a 1979 episode.<ref>Template:Cite web</ref> Jerry Seinfeld, a noted Superman fan, filled his series Seinfeld with references to the character, and in 1997 asked for Superman to co-star with him in a commercial for American Express. The commercial aired during the 1998 NFL Playoffs and Super Bowl, Superman animated in the style of artist Curt Swan, again at the request of Seinfeld.<ref name="TCS185">Daniels (1998), p. 185.</ref>
Superman has also been used as reference point for writers, with Steven T. Seagle's graphic novel Superman: It's a Bird exploring Seagle's feelings on his own mortality as he struggles to develop a story for a Superman tale.<ref>Template:Cite web</ref> Brad Fraser used the character as a reference point for his play Poor Super Man, with The Independent noting the central character, a gay man who has lost many friends to AIDS as someone who "identifies all the more keenly with Superman's alien-amid-deceptive-lookalikes status."<ref>Template:Cite news</ref>
Literary analysis
Superman has been interpreted and discussed in many forms in the years since his debut. The character's status as the first costumed superhero has allowed him to be used in many studies discussing the genre, Umberto Eco noting that "he can be seen as the representative of all his similars".<ref>Template:Cite book</ref> Writing in Time Magazine in 1971, Gerald Clarke stated: "Superman's enormous popularity might be looked upon as signalling the beginning of the end for the Horatio Alger myth of the self-made man." Clarke viewed the comics characters as having to continuously update in order to maintain relevance, and thus representing the mood of the nation. He regarded Superman's character in the early seventies as a comment on the modern world, which he saw as a place in which "only the man with superpowers can survive and prosper."<ref>Template:Cite news</ref> Andrew Arnold, writing in the early 21st century, has noted Superman's partial role in exploring assimilation, the character's alien status allowing the reader to explore attempts to fit in on a somewhat superficial level.<ref>Template:Cite news</ref>
A.C. Grayling, writing in The Spectator, traces Superman's stances through the decades, from his 1930s campaign against crime being relevant to a nation under the influence of Al Capone, through the 1940s and World War II, a period in which Superman helped sell war bonds,<ref name="60Y64">Daniels (1995), p. 64.</ref> and into the 1950s, where Superman explored the new technological threats. Grayling notes the period after the Cold War as being one where "matters become merely personal: the task of pitting his brawn against the brains of Lex Luthor and Brainiac appeared to be independent of bigger questions", and discusses events post 9/11, stating that as a nation "caught between the terrifying George W. Bush and the terrorist Osama bin Laden, America is in earnest need of a Saviour for everything from the minor inconveniences to the major horrors of world catastrophe. And here he is, the down-home clean-cut boy in the blue tights and red cape".<ref>Template:Cite news</ref>
Scott Bukatman has discussed Superman, and the superhero in general, noting the ways in which they humanize large urban areas through their use of the space, especially in Superman's ability to soar over the large skyscrapers of Metropolis. He writes that the character "represented, in 1938, a kind of Corbusierian ideal. Superman has X-ray vision: walls become permeable, transparent. Through his benign, controlled authority, Superman renders the city open, modernist and democratic; he furthers a sense that Le Corbusier described in 1925, namely, that 'Everything is known to us'."<ref name="MOG"/>
Jules Feiffer has argued that Superman's real innovation lay in the creation of the Clark Kent persona, noting that what "made Superman extraordinary was his point of origin: Clark Kent." Feiffer develops the theme to establish Superman's popularity in simple wish fulfilment,<ref>Jules Feiffer The Great Comic Book Heroes, (2003). Fantagraphics. ISBN 1-56097-501-6</ref> a point Siegel and Shuster themselves supported, Siegel commenting that "If you're interested in what made Superman what it is, here's one of the keys to what made it universally acceptable. Joe and I had certain inhibitions... which led to wish-fulfillment which we expressed through our interest in science fiction and our comic strip. That's where the dual-identity concept came from" and Shuster supporting that as being "why so many people could relate to it".<ref>Andrae (1983), p.10.</ref>
Critical reception and popularity
The character Superman and his various comic series have received various awards over the years. The Reign of the Supermen is one of many storylines or works to have received a Comics Buyer's Guide Fan Award, winning the Favorite Comic Book Story category in 1993.<ref>Template:Cite web</ref> Superman came at number 2 in VH1's Top Pop Culture Icons 2004.<ref name="200greatest">Template:Cite news Syndicated reprint of a Newsweek article </ref> In the same year British cinemagoers voted Superman as the greatest superhero of all time.<ref>Template:Cite news</ref> Works featuring the character have also garnered six Eisner Awards<ref>Template:Cite web</ref><ref>Template:Cite web</ref> and three Harvey Awards,<ref>Template:Cite web</ref> either for the works themselves or the creators of the works. The Superman films have, as of 2007, received a number of nominations and awards, with Christopher Reeve winning a BAFTA for his performance in Superman.<ref>Template:Cite web</ref> The Smallville television series has garnered Emmys for crew members and various other awards.<ref>Template:Cite web</ref> Superman as a character is still seen as being as relevant now as he has been in the seventy years of his existence.<ref>Template:Cite book</ref>
Notes
References
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- Template:Cite book
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- Template:Cite journal
- Template:Cite book
- Template:Comicbookdb
- Template:Gcdb
- Superman at the Big Comic Book DataBase
- Template:Imdb character
External links
Template:Wiktionary Template:Commonscat Template:Wikiquote
- Official Superman website
- Golden Age, Silver Age and Modern Age Superman at the Comic book database
- Superman Homepage
- Superman Database
- Alan Kistler's Superman Files
- Template:Dmoz
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