This is actually the first and first of many DC/Marvel crossovers included in the series, which initially released the shelves and read it.
The dynamic painting cover of artist Steve Rude has aroused my interest, which seems not to be the regular comic version of Superman, but the “real” Superman, the “real” Superman, which directly inspired other interpreted characters such as the Fleischer comic, the 1950 TV show, Nick’s TV show, Nick’s TV show, My Young Man and the 90s comics, which I have read.
A quick flip of the slim 48-page roll, providing the panel after the panel, and then sold to me on a page of Rude’s stylish, smooth, beautiful pencil art by Al Milgrom ink: It’s a comic book, a comic reader who needs to stand on his bookshelf, even a young one, even like me (and it was my Marvel Manvel and Me at the time) DC and Marvel and The whole process It’s one of the only Marvel-related comics I’ve bought*).
Reread it after about 25 years 600 Miracle AllI’m glad to find it still performs well and now I’m glad to recommend it to anyone like I’ve come back when I was still in college.
Much of this is due to Rude’s work, and I’ve seen too few jobs in the years since, but, along with a handful of other artists, I’ve always thought it was Ideal Superhero artist. Like, when I close my eyes and imagine a comics superhero, I’m likely to see a character drawn rudely.
The layout of Rude’s book consists of many six-panel pages, which are regularly rested from the format to prevent it from becoming monotonous, but nothing is too radical. The book has a solemn, classic look and feel on the pages.
I’ve used the word “ideal” more than once to describe his work, but it’s really what his Superman looks to me and it still looks like that, even now I can see more specific effects in it.
While Rude works here in his own particular style, he is inspired and influenced by the works of the two character creators than any other artist in this series, and in the case of Superman, his work, along with later artists (and non-dramatic portrayals), provides us with classic works, giving us original characters, like all characters that continually blend all people, not like the 90s. strong
The script by Roger Stern cleverly anchored the book in the modern day of 1999 while setting most of the story’s history to some vague past, which I guess might have been somewhere around the early 1960s, based on the look of fashion, cars and settings, and the specific state of a particular character.
Stern is constructed in the form of a framed sequence that is the obvious “now” (or the present in 1999), and Lois Lane sits on the couch and watches a documentary about the documentary.”Dr. Robert Bruce Banner – – and curse Incredible Hulk. ”
“Hi, dear! I Home…“Superman called and after the window entered the window, the couple briefly kissed and chatted before the Iron Man’s man noticed what she was looking at.
This leads to some reflection, as Superman points out, both he and the Banner live a double life (“Double Life” is actually the title of the story), and he briefly retells their origins, mainly for the benefit of the readers.
Then he said, “I can’t start to imagine what life of a banner must be like…” The zoom of a series of three panels is getting closer and closer to the Hulk’s face, and in the last panel of the sequence it shrouds the silhouettes of the sleeping figures, weeping “No! No! !“These years ago words,” apparently, are the end of Superman’s sentences, running like a bridge below the panel and drawing readers into the story, which will fill most of the book’s pages.
At the end of that story, we return to what is now Louis and Clark’s living room, where they reflect on the “end of” of Bruce’s story, his marriage to Betty Ross, whose identity becomes publicly and her death. They noticed how troubled the banner and Betty’s life were, how lucky they were themselves, and then, when Superman wondered where Bruce is, the scene shifted to a row of television sets in the storefront window, the reflection of the banner watched the final scene of his life’s documentary before turning around and walking through his sky with a peculiar image.
Somewhere in between? Well, in that vague past, Stern wakes up with his crossover set in a nightmare, and of course, he is a sleeping figure in a hidden lab, a hidden lab and turns into a Hulk, surprises his friend and confidante Rick Jones.
The Hulk rushed down and eventually landed on a barbecue in Arizona where the hungry barbarians exploited the chicken.
Meanwhile, journalist Clark Kent interviewed Professor Carson’s new breakthrough at a Midwest university, namely “Triangular seismometer“Able to predict earthquakes. This machine made something happen to Kent in Arizona, causing a large panel to occupy two-thirds of the page, where Superman stood on a rock ledge, holding onto his hips, facing the Hulk, who used his bare hands to keep the chicken in his mouth.
“So you are Large lens The Hulk said that when Superman floated towards him, the Hulk said, “Well, I won’t say that-!” Superman replied. ”Neither can I!“The Hulk said, throwing the first punch. Sick, the Hulk!
After a brief melee, the Hulk threw Superman into space, and by the time the Steelman returned, the Hulk had moved on (I think it’s worth noting that in this story the couple matched more evenly in terms of power, rather than bragging for the first time, back to the 1981 bomb, Marvel Treasury Edition #28).
Back to Daily Planet Office (the computer seems to suggest that this was actually done sometime in the early 90s, as retro as the rest of the book), Lois sees Clark studying the Hulk and is worried that he will scoo down her other superhero after breaking into Superman’s story, she beats him, she beats his Perry Perry and asks him to assign her story.
Clark now needs a new mission to introduce his investigation into the Hulk, as he is Superman, and he has profiled Dr. Bruce Banner. At that time, the banner actually yes Hulk is not common sense, but banners are related to Hulk and seem to be located near him most of the time.
However, they are not the only citizens who travel to the metropolis of the Southwest United States. After Rick manages to track down the Hulk and throw some special sedatives into his mouth, Banner returns to Army Base to meet with the company VIP hosted by General Thaddeaus “Thunderbolt” Ross: Lex Luthor: Lex Luthor, who is roughly drawn as middle-aged, on the heavy side, a little heavy red eyes and a red bedside with a mess of red hair.
Luthor, a major Army contractor, wanted to recruit banners for Lexcorp, which he was evident about, and less of the Hulk fighting Superman, so he encountered a charming offensive…plus some spy.
Luthor’s drawings ultimately involve a robotic replica of the Hulk, which naturally leads to another blow to the real Hulk and Superman, this time a longer and more attractive battle than the previous skirmishes. With both inevitably fighting superheroes, Luthor transfers the banner’s giant gamma gun to their case.
Stern spends plenty of real estate on getting the two casts together in various configurations throughout, not just the title characters fighting, but their secret identities chatting, their love interests sharing a car ride and being imperiled together, Luthor and Ross talking about The Hulk and military might, and so on (Like Lois, using the sex appeal Rude gives her to try to get Rick’s attention for an interview about the Hulk, for example).
While I certainly don’t know Hulk as familiar as I was Superman (especially the original iteration of this character), I have to imagine that with the stern and rude characters, their characters are also like their respective fans.
Of course, this is one of DC’s last crossovers and Marvel will manage it before they quit the story’s collaboration again, so I’m glad their collaboration lasted long enough to hand it over to our special crossover.
Next step: 2000s Batman/Darkward: Kings of New York #1
*Oh, then Ren&Stimpy Show #1 and #6.
