In June
1938, Jerry Siegel and Joe Shuster, Introduced a superhero with clean cut sense
of right and wrong backed by astonishing powers in "Superman," published in Action Comics #1. Page two of "Superman," published in Action
Comics #1 conveys to us the urgency with phrases like ‘seconds count’ ‘I
haven’t the time to attend to’ and ‘matter of life and death’ (Siegel and
Shuster, 1938 unnumbered page). His impatience for protocol is amply
illustrated by forced entry and treatment to the lady and the door opener,
presumably a valet. Though we know that this is first appearance of ‘Superman’, there is no mention of the name ‘Superman’. Here, he is
just a ‘tireless figure’ who has some strength (he breaks doors and lifts the
valet effortlessly), flying is indicated but not confirmed in the opening
panel.
The panel
arrangement is simple 3,3 and 2. Amounting to quick cuts, first six panels set
the pace for the final two panels which can be seen as the climax or pinnacle
of the build-up. Direct action crusader is not the one to stand on ceremonies
and action orientation is very clear as he is convinced of the rightness of his
actions. Though the page is not a full scene from the point of view of the plot
as it leaves us intrigued by the presence of gagged but well dressed woman and
clearly the ‘tireless figure’ has just started on his quest. The narrative is
aimed at establishing the contours of the plot and more so of a character. The hero
is new character as we have been told and we are being goaded to form a certain
image of the hero. To me, it can be summerized as someone strong, clear headed
about his values and in a hurry to finish his task using the powers that are at
his disposal. In this sense the page is telling a full poem or a point. It is fulfilling a complete task of
introducing us to a superhero and introducing a story.
We start caring for the fortunes of the people introduced
in the panels- The ‘tireless figure’, the gagged woman, the
person whose life/death is to be discussed with the governor and also the valet
who has been lifted by the hero. In this
caring lies the seeds of the story on an immediate level and future of a
franchise on a long term basis. We are hooked and story can build up on this
solid start that is full of intrigue, well paced action and a glimpse of
extraordinary powers that the hero enjoys (he breaks the door and runs on
stairs with single handed lifting of a man).
Use of shadow in the last two
panel is another interesting feature. Shadow increases drama and presence of
something supernatural is conveyed with suitable menace. Shadow has been used
with great impact in comics.
With a
character such as Superman, it is difficult to fully discard the baggage of the
readers own experience with the superhero. Those who are still engaged with the
superhero in 2013 will note the relative lack of sophistication and a direct
approach to establish the story. Of late we may find an attempt to convey inner
conflict of the superheroes including Superman who is supposed to be least
conflicted among superheroes. However, as we can see, the second page of the Action
Comics #1 (this may well be the first effective page) the intention was to
leave enough space to build a rich back story. Surely, the story was
built over a period of two third of a century and the myth making is still on.
For a reader presented with the page two of Action Comics #1, a big part of the
joy will be to witness the beginning (in my case this was so as I have not read
Action Comics #1). More so we immediately, somewhat condescendingly, admire the
pace and quality of comic in 1938. We can’t help thinking about the ground that
has been covered since then. We see that later Superman would not have been
restrained by time as he can reach the Governor in the blink. We like his
lifting of man and breaking of door but we know that this a man capable of
moving planes, building and even planets. We are liking it as a tourists likes
an ancient ruin or in an unknowingly condescending way in which we admire
simple beauty of products by exotic tribes.
The page
is an important milestone in the life of an art form. It creates solid
‘beginnings’- mind the plural. An eventful start of a story and a character.
This mode of starting a story involving parachute landing in the middle of
action, provides good ground for a back story to develop and that is what that
must have happened in Action Comics #1 and that has surely happened in the saga
of Superman. We are bound to see the page as a key building block of hugely
successful franchise and a beloved character. It is a story that is part of our
growing up process and we are still engaged with it. Triangulation of art,
medium and the reader is complete when we get to see this page in 2013 with our
‘trained’ eye and inability to unlearn.
*****
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