Perfect Game – SUPERMAN #400

This is the single greatest issue of SUPERMAN ever put together in the character’s 80 year history. Closer to home, it’s the special Anniversary issue that I’m always jockeying against in my own mind when it comes to put together a book of this sort for the Marvel characters. Of course, I fail to clear its bar every time–because it’s just about unassailable. Just look at that list of credits on the front cover, and realize that it’s not all-inclusive. This thing is a monster mother lode of talent.

By 1984 when this issue of SUPERMAN was released, editor Julie Schwartz had been working for DC for literally 40 years. He was starting to wind down his career a little bit, doing less work overall, and there was a feeling, I think, that while he’d been a huge mover and shaker at the company for decades, his best days were behind him. So for whatever reason, Julie set out to put the lie to that idea by making SUPERMAN #400 a behemoth of creative and commercial talent. He came up with a simple premise to tie the whole issue together: how will the legend of the Man of Steel be remembered by future generations? With this structure, successive creators could bring their own personal viewpoints to the material, and each chapter could in essence be a separate short story with only the concept and the forward movement of time and history connecting them all.

As the backbone of the whole project, Julie tapped Elliot S! Maggin, one of his favorite regular writers. Maggin had a special rapport with Superman, and this assignment fit him like a glove. But the real magic trick here was that Julie contacted a bevy of artists who had never drawn Superman with any regularity before and had them do each chapter–and those chapters were designed to play to their individual strengths. After an opening prologue illustrated by Joe Orlando that sets up the conceit, for example, we just a few hundred years into the future, where Al Williamson depicts a tall tale of the last sighting of Superman on the frontiers of space. Williamson was renowned as a science fiction artist, so this suited him perfectly.

In between each chapter, Schwartz ran pin-ups from a murderer’s row of artists, all of whom similarly hadn’t drawn Superman regularly. Above are the first four, from Brian Bolland, Jack Kirby (who had worked on JIMMY OLSEN for years, but not SUPERMAN proper, a loophole that allowed him to contribute), John Byrne (back when he was effectively an artist exclusive to Marvel) and Jack Davis.

The next chapter is illustrated by a pre-DARK KNIGHT RETURNS Frank Miller. It’s a loving homage to the 1950s George Reeves ADVENTURES OF SUPERMAN television show, a series that was incredibly influential in keeping Superman at the forefront of young minds for three decades. Here, the discovery of an episode excavated from a parallel Earth is sighted as evidence that Superman’s secret identity really Was Clark Kent, and not Morgan Edge as was generally believed. It’s great fun, and Miller seems to be having himself a blast playing around with the faux black and white screen captures.

The next chapter is elegantly illustrated by Marshall Rogers, and speaks to Superman’s power as a symbol. In a cold and clinical totalitarian society, a homeless man finds Superman’s indestructible costume stored away in a forbidden library and, when it proves to be impervious to harm, he is inspired to rally his fellow citizens to rise up against their oppressors. The story ends poorly for the man, whose head isn’t protected–but the movement he begins in that moment goes on to change the course of human history. It’s a great tale, very powerful (and very relevant at this particular moment in time.)

The next chapter is probably the weakest in the book. Once society rises once again, the historians of that era cannot agree on whether Superman was actually an all-powerful Superwoman or a caveman throwback or any of a number of other things. The intention here is to show that Superman can speak to all people, but it doesn’t come off all that well. The best bit here, really, is seeing artist Wendy Pini do a rare story for a mainstream publisher.

More chapter break pin-ups. Shown here are Annie creator Leonard Starr, Walt Simonson, Bernie Wrightson and Will Eisner. Only Julie Schwartz had the sort of wide-ranging rolodex and commanded the sort of respect that would cause so many disparate creators of stature to produce for this special issue. It’s an amazing, unbeatable line-up.

The next section is wonderfully illustrated by Michael Kaluta and concerns two boys playing Superman in a virtual reality video game–a relatively progressive concept for a 1984 story. This Superman owes a bit more to Batman, using technological gimmickry to wage his never-ending battle, because that’s how one of the boys envisions Superman. But the other sees things differently, and in this manner, Superman becomes a personalized legend for each reader. The main kid also sports a haircut clearly inspired by Osamu Tezuka’s Astro Boy, which is a nice touch.

The final section of the story is illustrated by Klaus Janson, and concerns a young man who comes home from the stars to celebrate Miracle Monday with his family on Earth. Miracle Monday was the Superman-derived holiday that Maggin had established in his second Superman prose novel, and here he cements it into the books. On this particular Miracle Monday, however, Superman himself turns up, having been thrown through the timestream during some adventure. This is akin to Elijah coming to supper, and the young man conceals his guest’s identity from his family, even though he himself is keenly aware of who the strange visitor is. “Will you be back?” the man asks as the Kryptonian takes to the skies to return to his own era. “I’ll always be back.” is the reply he receives.

More amazing pin-up chapter breaks, these from Steve Ditko, Mike Grell, Moebius and Bill Sienkiewicz.

Finally, the issue wraps up with a ten-page story written and illustrated by Jim Steranko dealing with similar concepts, and charting Superman’s family tree far off into the future. Apparently, Schwartz approached Steranko about contributing, and Steranko wasn’t interested in just illustrating some tale of Maggin’s. But he was willing to do his own thing, and it’s a graphic delight. Supposedly–and I don’t know how true this is–Steranko only sold DC first publication rights, something that Schwartz was somehow able to broker in this one instance, and this is why this incredible issue has never been reprinted in all the years since.

There may have been better Superman stories. But there has never been a better SUPERMAN issue. It is a masterpiece from cover to cover, with something to offer to virtually any fan.

16 thoughts on “Perfect Game – SUPERMAN #400

  1. Tom,I remember the Steranko story was reprinted in a best of Superman collection. It might be from the early 2000s.


  2. Great recap, Tom! You’re right, there’s no topping this issue as the quintessential anniversary book. But I love the idea that creators will try! That can only mean more great comics…


  3. Julie’s “best work was behind him” sees harsh. The Bronze Age saw several new, fresh approaches to comics. Towards the end of his career, innovators were busy building their own legends. A little unfair to penalize Schwartz’s career’s timing.

    Sienkewicz’s piece was typically groundbreaking for him, Miller’s “pin-up” was desigbed well, but feels phoned it. His chapter of the stiry was well done.

    I miss pin up issues. For the subsequent anniversary issues, I remember a brilliant piece by Jon Bogdanove, before he joined the regular creative team on the Super-books.

    This issue also reminds me of the hardcover of new material Marvel put out for Captain America. Another eclectic creative line-up. My favorite chapter was drawn by the great Pascal Ferry. Cap as an old, neared homeless man, using a metal lid from a trash can as his sheild.

    If I could pick a bookend issue to Suoerman 400, the lineup would look like this.

    Grant Morrisson as the writer. If he declined the whoke issue, if he wanted others to write chapters, then I’d contact
    Garth Ennis (wrote one of my fave Superman stories in an issue of his “Hit man”),
    Warren Ellis,
    Kelley Puckett (solid Suoerman characterisation in “Legends of the DCU”),
    Paul Chadwick (wrote a beautiful Superman Christmas tale in 1989)
    Mark Even her
    & if necessary for intracompany politics,
    Brian Michael Bendis

    The artists would be even more impressive.

    Clay Mann, who might do the best modern version of Superman
    Olivier Coipel,who elevates just about any character
    Stuart Immonen, unsurpassed
    Pascal Ferry, probably my favorite Suoernan artist
    Lee Weeks,another if the best
    Ed McGuiness, his power pop style is more refined in Avengers
    Tonci Zonjic (Toth inspired, “Jake Ellis”, “Lobster Johnson”, “Skulldigger”)
    And again, only if by corporate mandate…
    Jim Lee. Otherwise a pin up. But we wouldn’t need him for the book to succeed.
    More pin-ups by
    Carlos Pacheco
    Rafael Grampa
    Steve Rude
    Jose Jimenez
    Javier Fernandez
    And the artists above that declined sequential story page’s.


  4. in the episode of Smallville, when a local student character has the ability to tell people how they will die by touching them, he touches Clark and the few seconds of video reminds me of the piece by Sienkewicz – immortal clark flying thru the galaxy viewed from behind


  5. Thanks for this recap! I just found this link after scanning my issue (with a Mike Kaluta autograph I got personally) with the intent to pass it on to another collector, but as is often the case, I’m now torn about parting with it!


  6. I love that issue. I remember as a 14 year-old being disappointed that the conceit of showing distorted versions of Superman denied us more “on-model” versions of the character by Marshall Rogers, Al Williamson, Mike Kaluta, Wendy Pini et al. But I’m much more aligned to your opinion of it the older I get. I love the Frank Miller chapter too. It makes up for Miller’s back cover getting the Superman S wrong! (I’m shocked Julie Schwartz didn’t ask for a correction!)

    The pin-ups, which became a separate portfolio, are wonderful. I bought that portfolio (which was pricey) just for the Moebius image of Superman cradling a star, which I still think is very beautiful.


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