Superman: The Golden Age Omnibus Vol. 1
Product ID: 8702335
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Review: America’s First Modern Myth - Superman, America’s First Modern Myth: A Review of The Golden Age Superman Omnibus, Volume 1 In The Golden Age Superman Omnibus, Volume 1, one finds not merely a collection of vintage comics but something more profound—a time capsule from an era when America, perched between Depression-era struggle and wartime mobilization, was ready to dream again. These pages do not simply introduce Superman; they introduce the idea of Superman, a concept so radically simple and enduring that it would, within a few short years, leap from disposable pulp entertainment to modern mythology. The volume collects the earliest Superman stories from Action Comics #1-31, Superman #1-7, and New York World’s Fair Comics #1-2—the bedrock upon which the entire superhero genre would be built. This is the ur-text, the raw blueprint before decades of corporate refinement, cinematic spectacle, and cross-media reinvention polished Superman into an ever-shifting, multi-billion-dollar intellectual property. What we have here is something purer: the Superman of Jerry Siegel and Joe Shuster, a character still young, still untamed, and, perhaps most importantly, still delightfully reckless. Superman as a Depression-Era Crusader Superman, in his earliest incarnation, bears only a passing resemblance to the paternalistic Boy Scout that many today associate with the character. In these stories, he is less a law-abiding hero than a populist force of nature—a champion for the downtrodden who seems only marginally interested in the legalities of his interventions. In the inaugural Action Comics #1 (1938), he is not the cosmic demigod he would become, but rather an urban strongman, a social reformer in circus tights. He hurls corrupt businessmen through office windows, terrorizes abusive husbands, forces war profiteers into battle zones of their own making, and gleefully topples exploitative slumlords’ tenement buildings. If today’s Superman embodies truth, justice, and the American way, this early Superman embodies something more direct: truth, justice, and a well-placed right hook to the jaw of any petty tyrant he encounters. This Superman is not bound by the niceties of later interpretations. He does not hesitate to dangle criminals off rooftops until they confess, nor does he seem particularly concerned with due process. One can only imagine what the contemporary legal system would make of him. The phrase “vigilante excess” comes to mind. The Art of Joe Shuster: A Rough, Vital Energy The artwork of Joe Shuster, though crude by modern standards, is infused with the kind of raw kinetic energy that defines early American comic books. His Superman is not the sculpted, impossibly proportioned titan of later artists, but rather a barrel-chested, thick-limbed bruiser—a New Deal Paul Bunyan, less Greco-Roman god than back-alley brawler. Shuster’s backgrounds are sparse, his cityscapes perfunctory, his anatomy occasionally questionable. But what he lacks in polish, he compensates for with sheer momentum. His Superman does not simply lift cars; he flings them. He does not simply jump; he hurtles through the air. Every panel bursts with the exuberance of two young artists—barely into their twenties—creating something unprecedented with no roadmap, no genre conventions, and, crucially, no corporate bureaucracy yet meddling in their vision. What is striking is how modern Shuster’s compositions feel in their narrative efficiency. Decades before the cinematic ambitions of Neal Adams or John Byrne, Shuster’s panels already contain the DNA of what superhero comics would become—tight framing, dynamic angles, and a relentless forward motion that propels the reader from one audacious moment to the next. The Mythology Takes Shape Reading these stories, one begins to see the elements of the Superman mythos slowly crystallizing. Here, in embryonic form, are Clark Kent’s exaggerated timidity, Lois Lane’s tenacious skepticism, and Superman’s ever-growing sense of duty. But they are not yet fully codified, nor weighed down by decades of accumulated lore. The Kryptonian origins, for instance, receive only the briefest mention, and the famous “S” shield is still evolving, its design subtly shifting from issue to issue. The stories themselves are refreshingly lean—devoid of the interstellar melodrama and convoluted continuity that would later define the genre. These early Superman tales are not cosmic epics; they are hard-boiled urban adventures, as much indebted to the pulp magazines of the time as they are to science fiction. If later Superman stories would deal with existential threats to the universe, these stories are focused on more immediate concerns: corrupt politicians, labor disputes, and the everyday injustices that defined Depression-era America. A Time Capsule of American Optimism To read The Golden Age Superman Omnibus is to witness the birth of something larger than itself. These stories, for all their rough edges and naïveté, contain within them the seeds of the modern superhero genre. Superman, as presented here, is not a mere character but an idea—a rejection of cynicism, an affirmation that strength should be used for the powerless, and a reassurance that, even in the darkest times, heroes can emerge. It is difficult to overstate the historical importance of these stories. They arrived at precisely the moment America needed them: the late 1930s, when economic despair was giving way to the looming specter of global war. Superman was not just a fantasy; he was an argument—an argument that the strong had an obligation to the weak, that justice was not a theoretical ideal but a tangible action, and that, in the end, decency would triumph over cruelty. Final Verdict: Essential Reading for the American Mythologist The Golden Age Superman Omnibus, Volume 1 is not simply a collection of comics; it is a foundational document of American pop culture. It is a book that should be read not only by comic book aficionados but by anyone interested in the mechanics of modern mythmaking. For all his later evolution, the essence of Superman is already here, fully formed in spirit if not yet in aesthetic refinement. He is, in these pages, a distinctly American hero—not invulnerable in body (he would not yet withstand bullets), but invulnerable in purpose. This is the Superman of Siegel and Shuster: unpolished, unburdened, and utterly unapologetic in his moral clarity. And that, one suspects, is the Superman we need now more than ever. Final Thought: The Permanent Relevance of Superman One closes this volume with an inescapable realization: Superman is not merely an artifact of the past. He is, instead, a cultural necessity—an ever-adapting yet always-recognizable emblem of hope. He has endured because he speaks to something fundamental: the belief that power should serve rather than exploit, that justice should be swift but merciful, and that, even in a world governed by cynicism, decency still matters. And so, nearly a century after his first appearance, Superman still flies. As well he should. Review: The Birth of Superhero Comics - With the release of DC/Warner Brothers Man of Steel this Summer (this very week, as I type this), DC has been putting out numerous re-releases of Superman to get us prepped for the big film (and yes, I am oh-so excited to want to see the film come midnight opening). And just in time of the film release, DC has released this phenomenal omnibus of "The Last Son of Krypton" when he first appeared in 1938 that ushered in the age from the Pulp comics like the Shadow, The Phantom, and Doc Savage into the beginning creation of the "Superhero comic". I know I've seen other omnibi reviews like Spider-Man and Fantastic Four as being praised as the best material in the medium. With all due respect, THIS is the pendulum of the Superhero medium. Every icon you can name, even the mighty Batman, all came from the blueprint that is Superman and these stories go to show just why. SUPERMAN: THE GOLDEN AGE collects ACTION COMICS #1-31, SUPERMAN #1-7, and NEW YORK WORLD'S FAIR COMICS #1-2. Included is a foreword and afterword by Jim Steranko. I won't go into any real detail for the material itself, other then it being what it is for the time period. These early comics by Jerry Siegel and Joe Shuster (with accompanying art by Jack Burney and Wayne Boring) were meant for kids and adults (kids mostly) as a new form of entertainment in the comic medium. These stories are mostly about Superman being a social crusader for the oppressed people across America. Superman fights numerous thugs, thieves, and egomaniacs hell bent on taking over the world. It may not be as exciting as today's comics, but that's the charm about reading these stories. We get introduced to most of Superman's regular cast of characters like John and Mary Kent, Jimmy Olsen, and the most famous lady in comics (tied with Wonder Woman) Lois Lane. Additional introductions also go for Superman's rouge gallery like Ultra-Humanite (Superman's first villain), Alex Evell, Blackie Sarto, Medini, and Superman's greatest nemesis, Lex Luthor as that "egomaniac hell bent on taking over the world". The characters portrayed during this time are quite different then where they are now here 75 years later. Most of the characters designs, way of thinking, and motives were still being worked out by Siegel and Shuster. Superman will have various times his "S" logo will change its shape and color, his boots go yellow once in awhile, his power-set is still being worked out (he doesn't actually fly at this time yet, but there is times he does seem to float) and Superman will even leave villains to die. Other characters like Ultra-Humanite is an old crippled man instead of a humanoid ape and Luthor is genius-level mad scientist who wants to kill Superman and take over the world (which in some cases, is no different then the Luthor today...). But again, it was still about the characters finding their voice and there is nothing wrong with that. This new 2013 Omnibus comes with a dust jacket designed by Darwin Cooke (the lovely cover photo on desertcart shows why), with the original Action Comics cover on the spine jacket. The actual hardcover board is thick black, but sadly lacking in any design. The logo is imprinted on the cover and spine with nothing added. A shame DC couldn't do a cover design better then this, but for me, no biggie. The book itself comes with a contents page giving the title, list of author and artist, and page number where to find the issue. The paper is archive-level paper. Thick and non-glossy as to no reflections, with the colors being true to their original form, giving a vibrant look in it's original intent. The book is sewn/glued binding, but is impressively sturdy. The book spine bends out evenly with barely any gutter loss at all. It can get a tiny bit tight at the far ends, but after a while, the book folds on just fine and stays flat. There are no extras here at all in the back, sadly, aside from the foreword and afterword by Jim Steranko. This beats buying the Archives that are bit too much money for what they are asking. If you are economically strapped for cash, DC also has the DC Chronicles collection. They are softcover books with full color and cheaper to buy. All first 4 volumes of the Superman Chronicles books make up this entire omnibus. All four together cost about the same price (not counting shipping fees though) as the Omnibus at the current desertcart price. But be warned that books 2 - 4 are currently out-of-print and could be difficult to find (or be pricey). But that option is up to you. I'm more of a trade person over omnibus, but I couldn't resist having this book just in time for the upcoming film. So SUPERMAN: THE GOLDEN AGE OMNIBUS VOLUME 1 is an impressive book for the first and arguably greatest superhero of all time, even if it has some minor flaws. If you are a Superman fan that wants have these great stories and pay a little extra, go for it right now. I cannot wait for volume 2 of Superman during his golden era or the Man of Steel film coming out this week. So happy 75 years Superman. Let's just hope DC release a golden age omnibus book for Batman's 75th birthday next year as well.
| Best Sellers Rank | #3,430,578 in Books ( See Top 100 in Books ) #1,798 in DC Comics & Graphic Novels #9,500 in Superhero Comics & Graphic Novels |
| Customer Reviews | 4.7 out of 5 stars 158 Reviews |
C**W
America’s First Modern Myth
Superman, America’s First Modern Myth: A Review of The Golden Age Superman Omnibus, Volume 1 In The Golden Age Superman Omnibus, Volume 1, one finds not merely a collection of vintage comics but something more profound—a time capsule from an era when America, perched between Depression-era struggle and wartime mobilization, was ready to dream again. These pages do not simply introduce Superman; they introduce the idea of Superman, a concept so radically simple and enduring that it would, within a few short years, leap from disposable pulp entertainment to modern mythology. The volume collects the earliest Superman stories from Action Comics #1-31, Superman #1-7, and New York World’s Fair Comics #1-2—the bedrock upon which the entire superhero genre would be built. This is the ur-text, the raw blueprint before decades of corporate refinement, cinematic spectacle, and cross-media reinvention polished Superman into an ever-shifting, multi-billion-dollar intellectual property. What we have here is something purer: the Superman of Jerry Siegel and Joe Shuster, a character still young, still untamed, and, perhaps most importantly, still delightfully reckless. Superman as a Depression-Era Crusader Superman, in his earliest incarnation, bears only a passing resemblance to the paternalistic Boy Scout that many today associate with the character. In these stories, he is less a law-abiding hero than a populist force of nature—a champion for the downtrodden who seems only marginally interested in the legalities of his interventions. In the inaugural Action Comics #1 (1938), he is not the cosmic demigod he would become, but rather an urban strongman, a social reformer in circus tights. He hurls corrupt businessmen through office windows, terrorizes abusive husbands, forces war profiteers into battle zones of their own making, and gleefully topples exploitative slumlords’ tenement buildings. If today’s Superman embodies truth, justice, and the American way, this early Superman embodies something more direct: truth, justice, and a well-placed right hook to the jaw of any petty tyrant he encounters. This Superman is not bound by the niceties of later interpretations. He does not hesitate to dangle criminals off rooftops until they confess, nor does he seem particularly concerned with due process. One can only imagine what the contemporary legal system would make of him. The phrase “vigilante excess” comes to mind. The Art of Joe Shuster: A Rough, Vital Energy The artwork of Joe Shuster, though crude by modern standards, is infused with the kind of raw kinetic energy that defines early American comic books. His Superman is not the sculpted, impossibly proportioned titan of later artists, but rather a barrel-chested, thick-limbed bruiser—a New Deal Paul Bunyan, less Greco-Roman god than back-alley brawler. Shuster’s backgrounds are sparse, his cityscapes perfunctory, his anatomy occasionally questionable. But what he lacks in polish, he compensates for with sheer momentum. His Superman does not simply lift cars; he flings them. He does not simply jump; he hurtles through the air. Every panel bursts with the exuberance of two young artists—barely into their twenties—creating something unprecedented with no roadmap, no genre conventions, and, crucially, no corporate bureaucracy yet meddling in their vision. What is striking is how modern Shuster’s compositions feel in their narrative efficiency. Decades before the cinematic ambitions of Neal Adams or John Byrne, Shuster’s panels already contain the DNA of what superhero comics would become—tight framing, dynamic angles, and a relentless forward motion that propels the reader from one audacious moment to the next. The Mythology Takes Shape Reading these stories, one begins to see the elements of the Superman mythos slowly crystallizing. Here, in embryonic form, are Clark Kent’s exaggerated timidity, Lois Lane’s tenacious skepticism, and Superman’s ever-growing sense of duty. But they are not yet fully codified, nor weighed down by decades of accumulated lore. The Kryptonian origins, for instance, receive only the briefest mention, and the famous “S” shield is still evolving, its design subtly shifting from issue to issue. The stories themselves are refreshingly lean—devoid of the interstellar melodrama and convoluted continuity that would later define the genre. These early Superman tales are not cosmic epics; they are hard-boiled urban adventures, as much indebted to the pulp magazines of the time as they are to science fiction. If later Superman stories would deal with existential threats to the universe, these stories are focused on more immediate concerns: corrupt politicians, labor disputes, and the everyday injustices that defined Depression-era America. A Time Capsule of American Optimism To read The Golden Age Superman Omnibus is to witness the birth of something larger than itself. These stories, for all their rough edges and naïveté, contain within them the seeds of the modern superhero genre. Superman, as presented here, is not a mere character but an idea—a rejection of cynicism, an affirmation that strength should be used for the powerless, and a reassurance that, even in the darkest times, heroes can emerge. It is difficult to overstate the historical importance of these stories. They arrived at precisely the moment America needed them: the late 1930s, when economic despair was giving way to the looming specter of global war. Superman was not just a fantasy; he was an argument—an argument that the strong had an obligation to the weak, that justice was not a theoretical ideal but a tangible action, and that, in the end, decency would triumph over cruelty. Final Verdict: Essential Reading for the American Mythologist The Golden Age Superman Omnibus, Volume 1 is not simply a collection of comics; it is a foundational document of American pop culture. It is a book that should be read not only by comic book aficionados but by anyone interested in the mechanics of modern mythmaking. For all his later evolution, the essence of Superman is already here, fully formed in spirit if not yet in aesthetic refinement. He is, in these pages, a distinctly American hero—not invulnerable in body (he would not yet withstand bullets), but invulnerable in purpose. This is the Superman of Siegel and Shuster: unpolished, unburdened, and utterly unapologetic in his moral clarity. And that, one suspects, is the Superman we need now more than ever. Final Thought: The Permanent Relevance of Superman One closes this volume with an inescapable realization: Superman is not merely an artifact of the past. He is, instead, a cultural necessity—an ever-adapting yet always-recognizable emblem of hope. He has endured because he speaks to something fundamental: the belief that power should serve rather than exploit, that justice should be swift but merciful, and that, even in a world governed by cynicism, decency still matters. And so, nearly a century after his first appearance, Superman still flies. As well he should.
A**S
The Birth of Superhero Comics
With the release of DC/Warner Brothers Man of Steel this Summer (this very week, as I type this), DC has been putting out numerous re-releases of Superman to get us prepped for the big film (and yes, I am oh-so excited to want to see the film come midnight opening). And just in time of the film release, DC has released this phenomenal omnibus of "The Last Son of Krypton" when he first appeared in 1938 that ushered in the age from the Pulp comics like the Shadow, The Phantom, and Doc Savage into the beginning creation of the "Superhero comic". I know I've seen other omnibi reviews like Spider-Man and Fantastic Four as being praised as the best material in the medium. With all due respect, THIS is the pendulum of the Superhero medium. Every icon you can name, even the mighty Batman, all came from the blueprint that is Superman and these stories go to show just why. SUPERMAN: THE GOLDEN AGE collects ACTION COMICS #1-31, SUPERMAN #1-7, and NEW YORK WORLD'S FAIR COMICS #1-2. Included is a foreword and afterword by Jim Steranko. I won't go into any real detail for the material itself, other then it being what it is for the time period. These early comics by Jerry Siegel and Joe Shuster (with accompanying art by Jack Burney and Wayne Boring) were meant for kids and adults (kids mostly) as a new form of entertainment in the comic medium. These stories are mostly about Superman being a social crusader for the oppressed people across America. Superman fights numerous thugs, thieves, and egomaniacs hell bent on taking over the world. It may not be as exciting as today's comics, but that's the charm about reading these stories. We get introduced to most of Superman's regular cast of characters like John and Mary Kent, Jimmy Olsen, and the most famous lady in comics (tied with Wonder Woman) Lois Lane. Additional introductions also go for Superman's rouge gallery like Ultra-Humanite (Superman's first villain), Alex Evell, Blackie Sarto, Medini, and Superman's greatest nemesis, Lex Luthor as that "egomaniac hell bent on taking over the world". The characters portrayed during this time are quite different then where they are now here 75 years later. Most of the characters designs, way of thinking, and motives were still being worked out by Siegel and Shuster. Superman will have various times his "S" logo will change its shape and color, his boots go yellow once in awhile, his power-set is still being worked out (he doesn't actually fly at this time yet, but there is times he does seem to float) and Superman will even leave villains to die. Other characters like Ultra-Humanite is an old crippled man instead of a humanoid ape and Luthor is genius-level mad scientist who wants to kill Superman and take over the world (which in some cases, is no different then the Luthor today...). But again, it was still about the characters finding their voice and there is nothing wrong with that. This new 2013 Omnibus comes with a dust jacket designed by Darwin Cooke (the lovely cover photo on Amazon shows why), with the original Action Comics cover on the spine jacket. The actual hardcover board is thick black, but sadly lacking in any design. The logo is imprinted on the cover and spine with nothing added. A shame DC couldn't do a cover design better then this, but for me, no biggie. The book itself comes with a contents page giving the title, list of author and artist, and page number where to find the issue. The paper is archive-level paper. Thick and non-glossy as to no reflections, with the colors being true to their original form, giving a vibrant look in it's original intent. The book is sewn/glued binding, but is impressively sturdy. The book spine bends out evenly with barely any gutter loss at all. It can get a tiny bit tight at the far ends, but after a while, the book folds on just fine and stays flat. There are no extras here at all in the back, sadly, aside from the foreword and afterword by Jim Steranko. This beats buying the Archives that are bit too much money for what they are asking. If you are economically strapped for cash, DC also has the DC Chronicles collection. They are softcover books with full color and cheaper to buy. All first 4 volumes of the Superman Chronicles books make up this entire omnibus. All four together cost about the same price (not counting shipping fees though) as the Omnibus at the current Amazon price. But be warned that books 2 - 4 are currently out-of-print and could be difficult to find (or be pricey). But that option is up to you. I'm more of a trade person over omnibus, but I couldn't resist having this book just in time for the upcoming film. So SUPERMAN: THE GOLDEN AGE OMNIBUS VOLUME 1 is an impressive book for the first and arguably greatest superhero of all time, even if it has some minor flaws. If you are a Superman fan that wants have these great stories and pay a little extra, go for it right now. I cannot wait for volume 2 of Superman during his golden era or the Man of Steel film coming out this week. So happy 75 years Superman. Let's just hope DC release a golden age omnibus book for Batman's 75th birthday next year as well.
C**K
This book is an awesome collection of Superman in his original form
This book is an awesome collection of Superman in his original form. The stories are simple but also insightful to the social problems of the time. Its a different kind of Superman, a ruthless Superman, but a Superman who is ultimately a heroic and stanch champion of the oppressed. The comics presented here are refreshingly cartoonish and bright, but also contain a kernel of reality seeded throughout plenty of the story lines. Here, he does not fight over-the-top Gods and ridiculously overpowered villains, he fights against corrupt officials and sordid criminals (along with the occasional mad scientist). These are, if not the first, one of the earliest depictions of actual super-heroic crime fighting; An aspect of Superman comics that is very seldom seen today. The stories are absolutely directed at kids, but they do have sincere messages behind some of them. One thing I like best is that many of the stories show how Superman positively affects individuals and their lives, which is another thing modern Superman stories are lacking in. The stories range from comedic to dramatic. Some of the stories can come off as being "slanted" with the authors' personal views, and the stories can be clumsy (being that they are written by young writers), but all in all its an essential and delightfully FUN piece of Superman's history. The physical book itself - binding, paper, etc - is all very high in quality. I love it and highly recommend it. I really hope they come out with a Volume 2.
E**J
... the historical content and expected for it to be tedious cumbersome reading
I bought this omnibus more for the historical content and expected for it to be tedious cumbersome reading. To my complete delight, the earliest Superman stories are actually rather enjoyable. Now let me qualify that by saying the stories would be considered primitive and unsophisticated by today's standards. The same goes for the art. But in their simplicity, therein lies much of their charm. This is not a Superman who has near limitless powers. He is strong, he is fast, and he has little of the modern day "Boy Scout" sensibilities that have to come to define the character. This Superman has few qualms with throwing his weight around. "Bad guys" are routinely slung around in such a manner that would lead the reader to believe they would not be able to survive such treatment. The villains are not the cosmic level baddies we are used to, but ordinary bottom dwellers like slum lords and corrupt business owners. In a very true sense, he is a crusader for and champion of the oppressed. The binding of my copy is very sturdy and the pages are high quality paper. For the price this is a fine addition to my library. Very much recommended.
C**D
Superman Golden Age Omnibus Volume 1
Very enjoyable reading
M**.
Throwback to the Golden Age
The original Superman comic books look great in this book. The print quality is fantastic. The original Superman stores were very different than the sci-fi version we have today. These stories bring back the feel of the 1930s and 40s. It made a great Christmas gift that will last for many years to come. Excellent nostalgia value for adults, and fun for kids.
J**N
Good story
It's a really good story but I think it's fake. I don't remember learning about any guy wearing a suit with an 'S' on it in history class. But then again I went to public school. Plus the cops would arrest him for taking the law into his own hands. He's kinda going around violating everybody's civil rights. He shoulda gotten a job at the circus or something like that and made a lot of money instead. Plus why did the author reveal his secret identity, it's suppose to be a secret?
D**T
Arrived fast
Although I was hoping for the current cover (both were pictured), I am happy to get the book as it completes my set. It arrived faster than advertised and in near perfect condition ... only a small scrape on the back.
Trustpilot
1 week ago
1 month ago