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NERDING DAY

Nerding Day: Superman’s Dad is a Psychopath 🌭

Superman has the powers and technology to end all life on Earth in minutes. We wouldn’t even know he did it. He could hack every news site to read “EXPERTS SAY EVERYTHING FINE” while he flew through each of us at hyperluminal speed. He could push us into the sun and all we could do is ask why he was doing a handstand on such a hot night. So we’re lucky this immeasurably dangerous being was raised by such wholesome, All-American parents. Or, dun dun dun, was he?

I put it to you, 🌭s, that Superman’s dad is out of his goddamn mind– an insecure idiot who is almost specifically the last person you’d want to be the guardian of an alien god baby. Let’s look at three issues of Adventure Comics (The ADVENTURES of Superman WHEN HE WAS A BOY) where Pa Kent was given superpowers.

In the Silver Age, there were three ways one of Superman’s friends could gain superpowers.

#1: They didn’t. They just put on a costume and went crazy.

#2: They touch or drink some magical or radioactive thing.

#3: They didn’t. It was some stupid robot or whatever.

Adventure Comics (The ADVENTURES of Superman WHEN HE WAS A BOY) #224 is an example of #1. It starts like most Superboy stories– Pa Kent is meeting with an elderly man and agrees to go into his basement to let him shoot some pictures in a skin tight costume.

Ha ha ha you thought I was kidding, but no, this plot is based on every single cosplayer’s DMs. This guy made a sexy outfit which will be waiting here for the day Superboy becomes a Superman, his words not mine, and Pa Kent is miraculously the right measurements, so maybe they could, you know, go into his home studio and take a few pictures for his portfolio.

Any woman of any age would immediately recognize the danger they were in, but Pa Kent is a married Christian farmer from Kansas. He gets undressed and wads his body into this affectionate bachelor’s homemade unitard. And of course, the next thing he knows, he’s waking up with an amateur photographer on top of him.

 Ha ha ha you thought I was kidding again.

What happened was, a “sudden thunder storm” appeared and shot him with lightning through the roof and three stories of cement building. After the weather suddenly cleared, he woke up, saw he was wearing Superboy’s costume, and decided he must be his own superhero son. I guess for Pa Kent, all this was easier to accept than what really happened.

I don’t have a panel to show you where he processes all this since it happened off camera and was explained to Superboy by the doctor who treated him. Normally you wouldn’t reveal these kinds of things about your patient to a stranger, but the (maybe?) doctor decided the safest thing to do would be for Superboy to help convince his disoriented father he has superpowers.

So, okay, it’s a 1956 comic which means we need to take a deep breath and catch up every few panels. This very confused old man, who has recently lost the last of his innocence, has been prescribed some amount of “everybody pretend he’s a superhero” by a pedestrian claiming to be a medical doctor and acting as a psychiatrist. It’s eye-clawing madness. It’s like someone trying to get fired from the Black Mirror writing staff by pitching, “What if we did exactly Batkid, right, but it’s an alzheimer’s patient and we start with some sex stuff?”

Anyway, you might be thinking this sounds unsafe, and you’re right. Pa Kent, humored madman, immediately jumps out a fucking window.

Instead of catching him and saying, “Okay, this shit is over. Dad, you need to get ahold of yourself,” he flies below him, huffing and puffing his poor father into the air with super-breath. Neither of them learn anything. The next thing Pa Kent does is jump in front of a truck.

Notice it’s not a truck described as “runaway” or “driverless.” Pa Kent flew in front of a driver minding his own business. And wait, shit, did I say flew? We should remember he’s not really flying. He’s more like a concussion victim riding a burp, which means his son blew him into the grill of a moving truck. And to what end? This driver getting his truck torn in half thinks he’s killed someone! And I don’t think it would have helped if Superboy explained, “Sorry! I’m trying to protect the delicate mental health of a sex crime victim, my da– NOT my dad!” We’ll never know, though; since they just flew off letting this driver forever wonder why two Supermen dropped from the sky to fuck both ends of his truck and leave.

So we’ve established that Superboy is willing to throw his father into danger and terrorize strangers in order to protect this delusion. Following that possible doctor’s experimental psychological advice is that important to him. All he needs to do is keep him alive and pretend to not be Superboy until this passes. Easy. Young Clark Kent does this all day every day with literally every other person on the planet.

So Clark covertly blows his dad home for a nap. Then, in full Superboy costume, shatters wood at hypersonic speed with his bare hands outside his window. “Oh-oh!” Clark thinks when Pa sees his son, Superboy, doing Superboy things and starts to solve the mystery of how he, himself, is not Superboy. Most DC writers liked to work by aiming their face at a typewriter and shrieking until the centipedes eating their brain stampeded out of their mouth.

Okay, so his dad saw him as Superboy chopping wood at Superboy speed. It’s over. Wait, no. No. He can fix this! He can fix this!!!

Superboy thinks, “I dressed up to do my chores as a tribute to you!” and aims his X-ray vision at a nearby clock. I don’t want to get into all the time science behind this, but it heat-expands the clock spring to force the hour hand forward. “Aiiiieeeeee,” screamed the Adventure Comics writer, herding his mind centipedes onto the typewriter keys.

Wait, wait, fuck, hold on. Did I say thinks? Oh my god, I’m right. That’s a thought bubble, not a word bubble. So Superboy didn’t actually say anything to his dad. He silently looked at him. Which was enough? Pa Kent is fine thinking, “Well, I saw him being Superboy, but on the other hand, he did glare at a clock. I should give him the benefit of the doubt.”

We’re having fun, but this is obviously an unintended mistake by the letterer. Which is maybe worse than the regular absurdity because it means we now can’t trust the narrator, storyteller, characters, or the editorial staff. Someone might have accidentally translated and illustrated the assembly instructions of a German end table. Or Pa Kent might still be back in the costume salesman’s basement, where like the enduring Zack Snyder film Suckerpunch, all these events are taking place in the main character’s subconscious as they’re being molested. Hold on, that can’t be right. I better look that u– oh my god, I’m right again.

Superboy takes his dad outside so he can change his clothes in front of everyone because the entire community already knows about his derangement and they have gathered to laugh at him. Two men are several feet in front of him, laughing about it where he can see and hear them. The doctor, who I’m growing more and more certain was not a doctor, didn’t tell Superboy to include a public humiliation element in his father’s treatment. He came up with this all by himself.

Pa Kent, more certain than ever he is the grown up Superboy and this young lad is merely a stranger who chops wood for him in similar clothes, suggests replacing the roof of a nearby building. “Sure, why not? This is funny,” thinks his son. More people gather to make fun of him as he has a full mental breakdown but far, far more dangerous than that sounds.

Superboy lets his father, who is now a condescending asshole, cling to a speeding roof with his ancient, arthritic fingers. Pa Kent has only “had super powers” for an afternoon and he already finds these mere mortals to be nuisances standing in the way of his mighty whims. So Superboy spends the day testing the limits of his arrogance by throwing him into fires and gunfights. Ha ha ha this time I’m actually kidding.

No I wasn’t.

Superboy lets his awful dad inhale a warehouse fire while he impotently flaps a blanket at it from a diaper. And everyone in the city knows what’s going on except him and the gunmen painting him in white-hot liquid bullets. Then Clark Kent dedicates another small portion of his cosmic abilities to replacing all of his father’s furniture with balsa wood replicas.

The humiliation never stops. He tosses his dad’s body between zany bits like a less respectful Weekend at Bernies. And this prank has become so widely known Superboy’s new concern is that the townspeople are such bad actors his dad is going to figure out he’s not actually Superboy from their sarcasm. Which is ultimately the goal, sure, but without such medically unsafe suddenness? Oh no, guys, I just realized THIS COMIC BOOK MIGHT BE CRAZY.

Okay, this illusion is being maintained by an entire city of performers and all of Superboy’s amazing powers, so it’d be a shame if someone blew it by just blurting out “this poor fool who isn’t Superman thinks he’s Superman.”

Superboy blurts this out right in front of him. Hours of effort and millions in property damage are wasted, but what’s this? Oh no, what? Instead of figuring it out, Pa Kent says, “While you guys are talking about how I think I’m Superman, this is the perfect time to reveal my secret identity: I’m Superman!” If my daughter was making this up I’d tell her, “No. Absolutely not. You’re fucking four now! That’s too old to string together random senseless bullshit and call it a goddamn story!!”

Pa Kent starts to tell the crowd who Superboy is, and reality sets in as Superboy remembers that somewhere in this man’s unraveling brain is an important secret. And maybe blowing this hallucinating “lightning strike victim” from crisis to crisis while his closest friends mock him has worsened his mental condition. Maybe none of this was a good id– oh, good, he’s jumping in front of another truck.

The theme of this comic is deceit and delusion. The reader and characters are all being lied to, intentionally or by mistake, so it’s worth considering Superboy was going to let Pa Kent die here. After all, it’s… suspicious… how he can x-ray bullets out of the air and instantly exhale a human-levitating updraft under someone falling off a roof, but when the guy revealing his secret identity is jogging into the path of this particular truck he’s all, “Oh no. No time to react. What a tragic fate for this chatty nuisance with all my secrets.”

B-but wait. Pa Kent… stops the truck? With his mighty super-strength? Are you telling us there’s a twelfth layer of deception in this ten page comic book!?

Wait, no… my mind. Pa Kent goes to the back of the runaway truck and starts… stealing furniture out of it? And it’s the same balsa wood furniture from earlier? How? Wait, I guess I know HOW someone could move extremely light furniture into a moving truck, but why? None of this makes sense, and Superboy agrees, but not for the reasons he or you think!

It was a reverse prank! Pa Kent had his friend hide under a steering wheel and drive into him with a truck full of Superboy’s prop furniture to confuse him! And it worked! “Fuck you, space lad! That’s how you super prank on Earth! Aaghhh! Hrrk! I’m still going through a lot, and some of it is your fault! THE END.”

So I would argue nobody handled that well, and the judgement of everyone involved was questionable. Pa took an unpaid modeling gig in a pervert’s basement and then he and his son took turns daring trucks, gravity, fire, bullets, and trucks to kill him. It was an entire day of dangerous dishonesty, the funniest kind of dishonesty, and it ended with everyone certain everyone else was humiliated. Now let’s jump ahead a year and see how Pa Kent deals with getting real superpowers.

You might already be understanding the problem with Superboy as a concept. You can’t have this character engage in ordinary superhero adventures because Superboy is so powerful that anyone who can take him in a fight is, by definition, a galactic threat. Even the crazed comics writers of the ’50s understood you can’t create too many guys like that. The writers of Smallville solved this by making sure most villains died, but when every episode ended with them killing a child, that, in its own way, became a problem. The point is, Superboy stories were dumb fucking nonsense because what else would they be?

This story starts with two pretty egregious superhero mistakes. One, Superboy leaves out some unthinkable artifact from space on the dining room table. And two, Pa Kent starts screwing around with it.

“Hmm… some kind of weapon or marital aid from the stars! I wish my boy with super speed and hearing were available to help make this decision, but I think I’ll grab it firmly with my ungloved hands EEYOW!”

He handles it like you’d think. He immediately bashes into the ceiling diving for a mosquito, and heading straight outside to jump as hard as he can.

It goes perfectly. Pa Kent escapes Earth’s atmosphere and crashes into the moon. I’m not saying he makes poor decisions, but he has had superpowers for less than ten seconds and he was one micron to the left or right of plummeting forever through the empty void of space. This is the man who raised Superman from a baby. He watched his son’s powers develop over the course of dozens of shattered pets and accidental eye laser fires, and here he is accidentally abandoning his planet and family because he thought FULL FORCE was the best way to test his new star dildo legs.

Pa Kent leaps back, because who cares? I think even a 1957 Superboy writer knew the Earth spins fast enough that hitting your own farm on reentry would be impossible on your second super jump. Pa Kent probably flattened some Mexican town and thought, “Luckily this crater of scorched skeletons broke my fall! Now to get home before Martha touches the artifact and overspins the salad!”

Pa pulls a piece of coal(!) from the fireplace and squeezes it into a diamond. “I have mature judgement!” he screams as more coal burns behind him in an unventilated room, his dildo-altered DNA writhing after an unintentional trip to the moon.

Pa Kent sets off to be a better superhero than his son, first by… seeing the head fall off a Paul Bunyan statue? He is weirdly confident this is a temporary Paul Bunyan statue, so he tears up a tree where he thinks will be the site of a smaller, permanent Paul Bunyan statue and squeezes it to glue the temporary statue’s head back on, at least until National Forest Week is done being honored. I’d argue every single one of these details is insane from the town’s statue decisions to Pa Kent’s knowledge of them to the timing of this spontaneous shattering to his solution. If I was Superboy and came upon a man milking a tree into a statue’s crevice, I would fully expect him to say, “Join us, Super! Boy! Gllggbbb! Sticky juice for the fucking! Glbllbbbbgggg!”

Instead, he says, “Hello, son. It’s me. Your father. Let me show you how a real mature superhero fixes a public park.”

His father is a maniac. He is smashing through homes, ripping up trees… unleashing all manner of dangerous boners, Superboy’s words not mine.

With the superman powers comes superman drama, which in the ’50s meant a nosy broad was always trying to reveal your secret identity (the man with your face operating out of the same town). So Lana Lang’s mom is staging tricks to get Pa Kent, full rampaging lunatic, to reveal he is Strongman. And he does. At the very first opportunity. He picks up a 1000 pound barrel in front of her. Case closed.

Except! Superboy saves it by levitating it and saying, “He could only lift that giant barrel because of our attic electromagnet which works only on barrels!” And since the Langs are women in the ’50s, they say, “Jeez, I guess you men are right.” Also, wait, I don’t think Superboy can levitate barrels. Let me look it up, and oh my god, Mrs. Lang was correct– men are always right.

Pa Kent, mature hero with good judgement, reveals his secret identity again when he forgets his strength and obliterates a set of bowling pins. Luckily Superboy covers for him by… no, this can’t be right… fill the bowling alley with termites!? “Don’t worry, dad! I’ll simply get two buildings condemned because you’re too stupid for bowling!”

Watching his close friends try to make sense of this madness as termites devour their business equity, Pa Kent starts to realize he might have more to learn. But this does not make him humble. It makes him insecure and desperate. When the next crisis hits, a nearby falling plane, he orders his son to let him rescue it alone.

It’s worse than him being clumsy, stupid, and impuslive, though. Pa Kent doesn’t have powers anymore. And for the same reasons that made him a bad superhero, he has no idea. So he charges off to rescue a plane, alone, with the abilities of a middle-aged coal-huffing retailer.

So secretly, Superboy buries himself in a hole and uses a straw to spurt his moron father into a plane crash. This shouldn’t have worked! But more importantly, Superboy shouldn’t be willing to put more lives at risk to protect his father’s fragile delusions and ego.

Speaking of delusions, after he no longer has powers, the precious abilities he bragged about and instantaneously transformed his life and personality around, Pa Kent put on a big show about how losing them was actually a good thing. Sure, Pa. We were there. You went from curious star-dildo toucher to “actually I’m a way BETTER superhero than Superboy” in five goddamn seconds.

I hate Pa Kent so much. Let’s jump forward to 1961 to Adventure Comics (the ADVENTURES of Superman WHEN HE WAS A BOY) #289 to see his third take on Tertiary Superboy Character Gains Powers, and I’ll try to move it along since we’re 3200 words into this.

It starts with the standard Pa Kent wisdom. “What’s this strange space jewel? No time to ask my son! Got to touch i– ARRGH AN UNEARTHLY SENSATION!”

Setting a new record for space-jewel-touching-to-disaster, Pa Kent has already wrecked the family piano and heat-visioned a hole in the floor before he’s crossed the room. Time to jump onto a table saw, dick first.

Ha ha ha I was going to say you thought I was kidding, but there’s no way I got you with that one. You knew the second he touched that space jewel Pa Kent was going to try to fuck a table saw.

He wrecks the saw and punches a hole in the wall. “Fuck you, son. Fuck our house. Let’s break all the furniture– oh! Oh, let’s go smash your boy robots! If you’d have ever listened to me, this is the kind of shit we could have been doing with your powers this whole time! Pa! Kent!”

This rampage has a slightly different tone than the other times Pa Kent gained superpowers. Destroying the humanitarian robots and ordering Clark to stop being a superhero seem like red flags. And speaking of two red flags whistling right by Superboy…

… two red flags whistle right by Superboy. It’s Pa Kent stopping him from helping others! Nothing suspicious there… let’s see what happens next.

Okay, his dad throws a bucket on his head (boomerang-fashion) while he’s trying to rescue a falling balloon. If it was anyone else, this would seem strange, but this is totally Pa Kent’s idea of both good judgement and hilarious prank.

Hmm… something about the way Pa Kent signed for oranges while forbidding Superboy from rescuing forest rangers was unusual. Can you guess what it is!?

Gasp, it wasn’t his father at all! It was Kryptonian scientist Jax-Ur in a mask! Wait, assuming it was a really good mask and his impersonation was perfect, can’t Superboy see skeletons? Identify people by heartbeats? H-he should have known, right? I don’t need to look this one up; it doesn’t matter. If an alien in a rubber father face can walk into your home, break all your belongings, act like an alien in a rubber mask, and you don’t figure it out for a week, you and your father don’t have a good relationship. Pa Kent is such an unpredictable piece of shit and rewrites his DNA so often that everything Jax-Ur did short of writing, “MY NAME IS STAR CRIMINAL JAX-UR” on a produce receipt was seen as normal Pa Kent behavior. That’s not a cute joke, by the way. That’s how Superboy figured it out.

After catching this tiny slip-up, Superboy banished Jax-Ur to the Phantom Zone and we learn, dear God, every soul sent there can see Superboy. Jax-Ur is going to see him next time he’s blowing his senile father through the clouds. And when he lands and makes love to his wife Martha, careful not to crush her mortal bones, Jax-Ur will be looking on. “I know you’re there, Jax-Ur,” he’ll whisper. “Is that like a safe word?” Martha will ask. “No,” he’ll tell her. “It’s a lot to explain. Wait, right there. I’m! Hnngggg!! Do you see this, Jax-Ur! Look upon what I have done, Jax-Ur!” Whoa, holy shit, this article really got away from me.

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NERDING DAY

Nerding Day: Gremlins 2

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NERDING DAY

Nerding Day: Westone Page 🌭

Most of the world’s great heroes started as a childhood dream. Jerry Siegel and Joe Shuster dreamed of a baby rocketed to Earth from a doomed planet, gifted with powers beyond mortal man. Stan Lee and Jack Kirby dreamed of four bold adventurers changed by science to help humankind. And Emanuel P. Gill dreamed of three dead cops and a ripped pair of pantyhose. Welcome to the world of Westone Page.

Before we get going, a little historical context is required. For comic book readers in New York City, one store has always stood head-and-shoulders above the rest. Jim Hanley’s Universe was incorporated in 1985 in Staten Island and, fueled by its owner’s monomaniacal love of the art form, soon expanded to a choice Midtown location opposite the Empire State Building. In that massive store, you’d find all of the Marvel and DC you wanted, plus every other publisher under the sun. Hanley’s devoted a prominent shelf to local artists trying to get their work out there by self-publishing, and if you dug through it in the early 2000s you’d probably find a copy of Westone Page.

While most of the other minicomics on the shelf were artsy indie affairs, Gill was doing something different. His “E-Lectric Comics” imprint was a whole, fully-realized superhero universe with spin-off books and an ambitious release schedule. Sure, the actual publications were shoddily Xeroxed with content often being cut off at the page edge and covers that looked like they were colored with markers and left to sweat in a humid apartment, but the intent… the intent was powerful.

The flagship E-Lectric Comics title was Westone Page, which saw 7 issues published. The protagonist is a high school student named Crest Jones, whose father Jason runs a counterfeiting business. When Crest, his brother Donny, and their mother find out where their money comes from, Jason has the three undercover police officers assigned to guard the family – Westley, Stone and Page – murdered. Their life essences flowed into young Crest imbuing him with the wisdom and power of three police officers. This might seem to be a fairly minimal improvement, but nevertheless he adopted the unwieldy moniker of “Westone Page” and set out to bring his father to justice.

At first blush, this doesn’t seem all that unusual for an amateur superhero comic book. But the first blush is often the most deceptive. The basic structure of Westone Page is normal, but inside it is a seething chaos of deep weirdness, like a fish tank full of millipedes left on your ex-wife’s porch.

First off, we don’t actually see any of this dramatic origin happening – Westley, Stone and Page are nowhere to be found. That backstory is all communicated through Crest’s thought balloons on the first page of the first issue. 

We eventually do get to see the trio of titular cops in a flashback in issue 5, but that comes in the middle of an interminable courtroom sequence. The vast majority of Westone Page consists of its characters monologuing to the camera about what they’re going to do to each other when they fight.

Emanuel is what we call in the industry an “idea guy,” more concerned with getting his cool concepts out there than weaving them together into any kind of coherent narrative. So every issue of Westone Page features a few pages of plot and the introduction of between seven and ten new characters, many of which are never seen again. The bad guys led by Jason all get half-pages where they do such things as make milkshakes and threaten to take their foes “to the back” – a unique verbal proposition that is deployed multiple times. 

One of the most notable supporting characters is Westone’s superpowered girlfriend, U-Shadow. As Samantha McSullivan, she was a secretary for his father who discovered his counterfeiting business. They struggled, and he knocked her into a vat of chemicals that somehow interacted with her “torn, black panty hose, exposed leg” to transform her into a creature of coruscating energy.

You’d rightfully assume from that sort of origin story that these comics are incredibly horny. And yes, while Emanuel stops short of showing full dong or penetration, E-Lectric’s heroes and villains are constantly sexing each other up. At one point, while Westone is flying some sort of jet-sled to confront the evil Dr. Master in “Empire Daddy City,” U-Shadow gives him a reacharound and makes him ejaculate in his pants. I can appreciate the desire to relieve some stress before a battle, but one would think having dried jizz on the inside of your super-leotard would get uncomfortable.

Gill is also a master of creative profanity. There’s a certain school of thought that the more cursing you put in a piece of content, the more mature it is. So Westone, his cohorts, and his foes all swear like sailors on nearly every page. The old favorites are mixed and combined, like the evil Jason Jones above referring to his estranged wife as a “shitbitch.”

Throughout the run of Westone Page, we’re teased with our hero confronting his father. But the big climatic battle never seems to happen. Instead, the book detours into courtroom drama, with the judge, the prosecuting attorney and pretty much everybody observing turning out to be a superhero or villain. That’s interrupted by an attack from a new bad guy, the nefarious Dr. Master, who deploys bizarre monsters called “Foodas,” which have one head connected to two humanlike bodies with several suspiciously fuckable holes. Jason Jones escapes, never to be seen again.

Additional titles followed. “The E.P.A. Brothers” followed a trio of siblings from New York as they kept their neighborhood safe. “Fighting Ones” was the obligatory team-up book, which paired Westone with a panoply of other “Power Humans” (and the dog Sniffer, the “Power Mammal”). “Ivory,” leader of the group Teamwork For Power Humans, also got one issue of a solo book that I’ve never seen a copy of. And in every issue, we meet at least a half dozen new characters like “Airbrush,” a villain who paints realistic doors on walls to make people run into them, or “Arthritis,” who has a wrist blaster that can make bones jiggly. 

What’s fascinating about these books is how they’re obviously commercially motivated – in each issue, at least 1/3 of the page count is taken up with ads for E-Lectric Comics’ other offerings, often repeating the exact same ad multiple times in a single comic. Gill’s art style isn’t really congruent with the hot Marvel and DC artists of the era. Instead, his work hearkens back to Golden Age greats like C.C. Beck – figures are rounded and soft, compositions are static and fight scenes are simple and uninventive. They really seem like they were beamed into Jim Hanley’s Universe from a parallel dimension.

It’s hard to run down the genius of Emmanuel P. Gill. These comics are full of deeply hilarious moments, like when the Fighting Ones prevent a nuclear bomb from exploding by covering it with a large sheet of tinfoil. But everything is played with incredible seriousness. The common thread through almost every character is fathers – in addition to Crest’s abusive dad, nearly every other male parent presented in every one of his comics is a violent, abusive sociopath. 

And, just as suddenly as E-Lectric Comics had appeared, they vanished. Gill stopped bringing his books into Jim Hanley’s Universe, and I’ve never met another comics shop owner in New York or anywhere else who ever saw or sold them. It looks like he set up an Etsy page a while back, but only the first two issues of Westone Page and some original artwork are available. 

According to his Facebook page, he was also employed at New York’s storied Metropolitan Museum of Art in 2019, and even hung a drawing in the staff art show. But even more astonishing, he lists on his LinkedIn that he’s an art teacher at CUNY’s Lehman College in the Bronx, meaning the mind behind Westone Page is shaping young artists in his own image to create a new generation of pants-squirting, pantyhose-ripping Power Humans.

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NERDING DAY

Nerding Day: Marvel’s OverPower Cards 🌭

Collectible Card Gamesā„¢ were like bitcoin in the ā€˜90s. Some freewheeling hero of licensed commerce figured out that you could create a backdoor gambling trap house for dweebs by making up rules for trading cards, and that became the speculative currency of the year 1995 alongside Pogs and Hootie and the Blowfish.

During that brief, glorious window of time, nearly every property you could think of was spun off into a Collectible Card Gameā„¢. Monty Python and the Holy Grail, at the time a 30-year-old film with no sequels, was made into its own Collectible Card Gameā„¢. There was never an official Collectible Card Gameā„¢ adaptation of the O.J. Simpson trial, but I’m certain those discussions took place. Boxes of The Island of Dr. Moreau game and the Clinton Impeachment game were presumably shipped to third-world children alongside cases of Buffalo Bills Super Bowl champion t-shirts. If the CCG boom had lasted longer than 12 months, we would’ve seen a 9/11 Collectible Card Gameā„¢ with a robust Iraq War expansion, complete with a chase Rudy Giuliani on lenticular printing depicting America’s Mayor melting into a puddle of raven-dyed gin sweat in real time.

There were even official Collectible Card Gamesā„¢ sponsored by Major League Baseball and the NFL, in what may have been the most blindly ambitious assessment of crossover appeal since Deion Sanders’ 1994 album Prime Time, an entire collection of songs performed by an undeniably skilled athlete who has clearly never listened to music. I’m not saying that none of the kids who bought Collectible Card Gamesā„¢ in the ā€˜90s played sports, but I’m willing to bet most of them won the ā€œMost Spiritedā€ award.

Collectible Card Gamesā„¢ represent the perfect storm of monetizing nerdery, combining strategy/RPG tabletop gaming with the collectibles industry, which thrives on selling functionless cardboard and plastic to people who have strong opinions about the Spawn movie. Consequently, it wasn’t long before the Marvel Super Heroes waded their costumed boots into the fray, and anyone who grew up in the ā€˜90s reading comic books off of the rack at Food Lion can probably tell you why. The ā€˜90s were a dark time for Marvel – remember, this is 20 years before Disney and the Marvel Cinematic Universe – and the company was notorious for selling the merchandising rights to their characters for the cash equivalent of a BOGO coupon to a kissing booth run by the lead singer of an Incubus tribute band. Spider-Man made a lot of personal appearances at car dealerships in the ā€˜90s, and stacks of koozies bearing the official visage of the mighty Thor languished unredeemed in prize baskets at miniature golf franchises across America. Marvel was desperate for exciting new ways to pimp Earth’s Mightiest Heroes to dorks with disposable income, and Collectible Card Gamesā„¢ were just such an opportunity.

In the summer of 1995, Marvel OverPower exploded into comic book stores, hobby shops, and weird kiosks at the mall run by men on a first-name basis with their tobacconists. The basic mechanics of the game were introduced via a series of instructive comic books, each written in-character by members of the Marvel Universe. I had the one written by Benjamin J. Grimm, and let me tell you, the ever-loving blue-eyed Thing was never meant to train anyone to do anything, let alone a complicated strategy card game with its own speculative economy. My copy of that issue has long since been lost to the sands of time, but I recently paid 400% of the original cover price for a new one so that we might go through it together in a future article. In the event that the article ends up not happening, at least I will have a copy to pass on to my children. In the event that I never have any children, at least I will have a copy to mail to a random child. I only believe in no-win situations wherein there truly is no winner. It’s the Kobayashi Maru of paying $10 for a 25-year-old instruction booklet dictated by a fictional character whose superpower is being a rampaging dumbass with no patience or impulse control.

Now, to be clear, nothing about Marvel OverPower is a bad idea. Collectible Card Gamesā„¢ were exploding at the time, and Marvel already produced annual gameless trading card sets featuring their characters. It would’ve been strange if they hadn’t tried to cash in on this lucrative new trend. And OverPower is a pretty good game! It has an interesting design that eschews the resource management aspect of Magic the Gathering that has since become the template for most customizable card games. Rather than fiddling with mana or casting costs, you just kind of play whatever the hell you want over a series of hands that essentially boil down to a gussied-up version of poker. And Marvel has a deep bench of rad heroes and villains, brought to life by decades of talented artists, who would lend themselves perfectly to a Collectible Card Gameā„¢. The trouble is, Marvel has an equally deep bench of the most unappealing characters in the history of visual storytelling, and in the ’90s they were trying like hell to figure out which one of those ridiculous shitheads was going to be the next Spider-Man. When coupled with their other notable 1990s habit of devaluing their own brand to make a quick buck off of shoddy merchandise, and their forever habit of not giving one solitary shit about artists, OverPower became a charming oddity of high-quality trading cards featuring the worst art I have ever seen depicting characters who lived shorter lives than the NASA Teacher in Space Project.

When I cracked open my first starter deck of OverPower, I was rewarded with a deck of cards bearing the hideously misshapen faces of the most indecipherable trivia questions 1995 Marvel Comics had to offer, such as Cyber and Century. Instantly forgettable characters with names that sound like words Kid Rock hurriedly selected from a rhyming dictionary made up roughly 20% of OverPower’s inaugural set. Even characters who are well-known now, like Nebula and Deadpool, weren’t exactly decorating any lunchboxes in 1995, and yet they were heavily featured in this exciting new gaming endeavor. And unlike Nebula or Deadpool, Cyber is no one’s favorite character. Nobody is buying Cyber posters. Cyber gets picked dead last in the fantasy supervillain draft every year by the guy who showed up late because he mistyped the bank’s Wi-Fi password. The only way Cyber will ever appear in the MCU is on a Disney+ series playing on a cracked vidscreen in the background of the wasteland while WALL-E busily crushes piles of dusty bones into stackable cubes. And yet Cyber is on no less than three different cards in the very first box of OverPower cards you were likely to open, looking like a mechanical aerobics instructor:

He looks like the X-Men’s pool guy. His mutant power appears to be Sleeveless Colossus, and as keen-eyed Marvel fans have probably noticed, Colossus is already sleeveless. The noble Russian superhero had been doggedly fighting his personal war against sleeves for two decades by the time OverPower rolled around, so it’s unclear what Cyber hoped to bring to the table. The only thing that is clear is what he doesn’t bring to the table, which is more sleeves.

Cyber is but one example of the truly atrocious art you were treated to upon tearing open any given pack of OverPower cards. Much of the artwork was badly repurposed from existing comics, and all of it was given a bizarre graphical sheen that effectively made each card look as if it were created in Microsoft Paint by an insane computer moments before it self-destructed. Things like perspective and human anatomy – already on thin fucking ice in the comic books of the ā€˜90s – were cast straight out of the goddamn window:

Even when the art wasn’t necessarily bad, it was always 100% out of its fucking mind, such as the Punisher’s hero card in which he looks like Peter Falk dual-wielding handguns the size of his torso:

The cockeyed Black Widow uppercut was an abiding favorite. Notice how one eye is tightly shut while the other is looking off in a random direction, as if she’s receiving instructions from Dean Stockwell’s hologram:

“Ziggy says you have to dislocate this palooka’s jaw or else Dina and her kids are gonna die on that roller coaster tonight!”

Thor’s hero card depicted the formidable god of thunder doing what can best be described as a Christian endzone dance:

And here’s Venom, then and now one of Marvel’s most popular characters, dumping a cart of hot dogs into his mouth like he just lost an extremely specific bet:

I have no choice but to believe that Tom Hardy based his entire performance on this single image.

And even though it came in an expansion several years later, I would be criminally remiss if I did not highlight Captain America’s IQ OverPower hero card:

Finally, here’s my favorite card in the entire inaugural set: Spider-Man calmly caving a man’s face in mid web-swing:

Does this man have the power of flight? If not, why did Spider-Man carry him all the way up into the sky to detonate his face? The man’s hair is gray – how old is he? The movement flourish suggests that Spidey wound that punch up from the small of his own back, and calculating for the proportional strength of a spider, such a blow should rocket this man’s teeth, tongue, and uvula through the back of his skull like a shotgun blast. What did this man do? What crime could he have committed to deserve such treatment? Truly, he has been OverPoweredā„¢. Please know I recorded all these thoughts in a spiral-bound notebook while staring at this card and listening to the Mortal Kombat soundtrack in my parents’ dining room the year Toy Story was released in theaters.

Sadly, Marvel OverPower did not last beyond the ’90s. But nor was it truly meant to. As these tarot cards of strange fortune indicate, OverPower was a towering monument to the decade of impossible musculature and shiny sleeveless beefcakes, forever preserving the worst period of modern comic books in poorly drawn amber. It’s like a bronze statue of Alanis Morrisette, meant to fade with the receding sunset on December 31, 1995. To say that Marvel OverPower represented a significant period of my life is an understatement. For a period of about 10 months in the ā€˜90s, I lived for this game. If I could be buried in a casket made of OverPower cards, with a Captain America hero card expression painstakingly painted onto my face, my wife would be the most bitter widow in history. In the spirit of making wildly irresponsible purchases, I have waded back into collecting this undeniably perfect game, and if time and the whims of the universe allow it, I will break open more moldy packs of terribly illustrated playing cards for an autopsy report here on the Hotdog. Or I’ll never mention OverPower again. One of those two things will definitely happen.

…

This article was brought to you by our fine sponsor and Hot Dog Supreme, Donald Finney: who has a Fighting of 9! A Jetski of 3, Guitar of 1, and Fiscal Responsibility 2 — but Fighting 9 is good! 

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