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Action Comics (1938-2011) #32-47
Superman: The Golden Age Omnibus Vol. 2
The earliest adventures of Superman, from 1940 through 1942, are collected for the first time together in one massive hardcover. In these early stories, Superman battles social injustice and political corruption, fighting for the common man, taking on crooked land developers, spoiled socialites and much more.
Collects ACTION COMICS #32-47, SUPERMAN #8-15, WORLD'S BEST COMICS #1 and WORLD'S FINEST COMICS #2-4.
Collects ACTION COMICS #32-47, SUPERMAN #8-15, WORLD'S BEST COMICS #1 and WORLD'S FINEST COMICS #2-4.
750 pages, Hardcover
First published April 1, 1942
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79 people want to read
About the author
Jerry Siegel
619 books81 followersJerome "Jerry" Siegel, who also used pseudonyms including Joe Carter, Jerry Ess, and Herbert S. Fine, was the American co-creator of Superman (along with Joe Shuster), the first of the great comic book superheroes and one of the most recognizable icons of the 20th century.
He and Shuster were inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1992 and the Jack Kirby Hall of Fame in 1993.
He and Shuster were inducted into the comic book industry's Will Eisner Comic Book Hall of Fame in 1992 and the Jack Kirby Hall of Fame in 1993.
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Displaying 1 - 4 of 4 reviews
September 12, 2022
Nice collection of these hard to find Golden age stories. fun reads. Recommended
February 13, 2025
Superman, Refining the Myth: A Review of The Golden Age Superman Omnibus, Volume 2
If The Golden Age Superman Omnibus, Volume 1 is the origin story of a genre—an unpolished but profoundly vital act of mythmaking—then Volume 2 is something else entirely: the moment when Superman, still young, begins the long process of refining himself.
By 1942, the character who had debuted four years earlier as a barrel-chested populist, leaping across cityscapes and terrifying corrupt landlords, was beginning to resemble something closer to the Superman we recognize today. The raw, Depression-era social crusader—who once gleefully threw an arms dealer out of a window—was evolving into a more palatable, family-friendly champion of justice, softened at the edges but still undeniably powerful. This volume, collecting Action Comics #32-47, Superman #8-15, and World’s Finest Comics #1-2, captures Superman in his first true transitional phase: from pulp-fueled avenger to national icon.
Superman’s Wartime Shift: From Social Crusader to Symbol of American Might
It is impossible to separate these stories from their historical context. By 1942, America was no longer merely watching World War II unfold from afar; it was now fully engaged in it. The United States had entered the war following Pearl Harbor, and the entire entertainment industry—comic books included—was rapidly reorienting itself toward patriotic narratives.
Superman, however, did not immediately leap onto the battlefield. His primary villains remained criminals, mad scientists, and corrupt politicians—not Axis soldiers or goose-stepping officers. Unlike his wartime counterpart Captain America, Superman was not depicted punching Hitler on a comic book cover; rather, he symbolized why the war was being fought, not merely how it was being waged. He was a figure of strength and moral certainty, reinforcing the American ideals of justice, optimism, and indomitable will.
Yet, even as Superman evolved into something more overtly noble, the sheer audacity of his power was becoming an editorial dilemma. If Superman could lift tanks, catch bombs, and outrun fighter jets, what was stopping him from simply ending the war overnight? The answer was simple: editorial restraint. DC Comics, wary of making Superman either too political or too absurdly omnipotent, kept him focused on domestic threats—espionage rings, saboteurs, and the occasional war profiteer. Thus, Superman did not fight the war so much as he represented it—an embodiment of American invincibility in an era when such an idea was both necessary and deeply reassuring.
The Art Evolves: Joe Shuster Steps Back, and Superman Finds a More Polished Look
Visually, this volume marks a shift in Superman’s aesthetic. While Joe Shuster, Superman’s co-creator, was still credited, his involvement was diminishing as other artists took on more of the workload. What emerged was a more refined, sleeker Superman—his jawline sharper, his physique more classically heroic, his movements more fluid. The once-bulky strongman of 1938 was beginning to look less like a circus performer and more like the streamlined symbol of heroism that would dominate American pop culture for decades.
This transition is most evident in the way Superman moves through the panels. The once-stiff action sequences, filled with static poses and slightly awkward proportions, now crackle with energy. The artwork—though still crude by modern standards—begins to embrace dynamic perspectives, dramatic angles, and a greater sense of motion. Superman is no longer just doing things; he is soaring, rushing, commanding his environment in a way that signals his impending transition from a mere comic book character to a full-blown American archetype.
Clark Kent: The Transformation of the Mask
One of the more intriguing elements of this volume is the continued evolution of Clark Kent. In the earliest Superman stories, Clark was barely a character—a mere disguise that Superman tolerated, a flimsy excuse for him to be present when the plot demanded it. Here, however, Clark becomes more than just a journalist with glasses; he begins to take on the persona of the mild-mannered everyman, a deliberate contrast to the power he hides beneath his suit.
This is where one begins to see the real genius of Superman’s mythology. Unlike Batman, whose dual identity is a psychological balancing act, Superman’s secret is not that he is pretending to be Clark Kent, but rather that Clark Kent is an intentional deception—an exaggerated performance of human frailty. This tension between Superman and Clark Kent would only deepen in later years, but in these early stories, the seeds are clearly being planted.
A New Kind of Villain: From Street Thugs to Mad Scientists
Superman’s adversaries in Volume 2 are a noticeable departure from those in Volume 1. While his earliest foes were primarily corrupt businessmen, domestic criminals, and generic tough guys, this volume sees the emergence of a new kind of enemy: the mad scientist. Figures like Luthor—his name not yet prefixed by “Lex”—begin to introduce a new kind of conflict, one that pits Superman not merely against injustice, but against science gone awry.
This shift is significant. It marks the beginning of Superman’s journey from grounded, street-level heroism to something grander, more mythic. The problems he faces are no longer just human failings; they are technological abominations, existential threats, and absurdly elaborate doomsday schemes. The larger-than-life Superman that would define the Silver Age is starting to take shape.
Final Verdict: The Refining of a Legend
The Golden Age Superman Omnibus, Volume 2 is not just a collection of vintage comics; it is a document of Superman’s first major transformation. The stories are more polished, the art more dynamic, the mythology more deliberate. This is no longer just the bold experiment of two young men from Cleveland; it is the early draft of a legend.
For those interested in comic book history, this volume is essential reading. It captures the precise moment when Superman stopped being merely popular and started becoming permanent.
Final Thought: Superman and the Mythology of American Exceptionalism
One closes this volume with a striking realization: Superman, even in his infancy, was already functioning as a uniquely American myth. He is not merely strong; he is just. He does not rule; he serves. He does not seek vengeance; he restores balance.
Superman, in this volume, ceases to be just a character and becomes an idea—a deeply American belief that strength should exist not for its own sake, but for the defense of the powerless.
This, perhaps, is why Superman has endured. He is not bound to any one era, because he is not merely a product of history—he is a reflection of what America wants to believe about itself.
And in a world where cynicism is cheap and heroism often feels naïve, that idea remains more necessary than ever.
Superman still flies.
As well he should.
If The Golden Age Superman Omnibus, Volume 1 is the origin story of a genre—an unpolished but profoundly vital act of mythmaking—then Volume 2 is something else entirely: the moment when Superman, still young, begins the long process of refining himself.
By 1942, the character who had debuted four years earlier as a barrel-chested populist, leaping across cityscapes and terrifying corrupt landlords, was beginning to resemble something closer to the Superman we recognize today. The raw, Depression-era social crusader—who once gleefully threw an arms dealer out of a window—was evolving into a more palatable, family-friendly champion of justice, softened at the edges but still undeniably powerful. This volume, collecting Action Comics #32-47, Superman #8-15, and World’s Finest Comics #1-2, captures Superman in his first true transitional phase: from pulp-fueled avenger to national icon.
Superman’s Wartime Shift: From Social Crusader to Symbol of American Might
It is impossible to separate these stories from their historical context. By 1942, America was no longer merely watching World War II unfold from afar; it was now fully engaged in it. The United States had entered the war following Pearl Harbor, and the entire entertainment industry—comic books included—was rapidly reorienting itself toward patriotic narratives.
Superman, however, did not immediately leap onto the battlefield. His primary villains remained criminals, mad scientists, and corrupt politicians—not Axis soldiers or goose-stepping officers. Unlike his wartime counterpart Captain America, Superman was not depicted punching Hitler on a comic book cover; rather, he symbolized why the war was being fought, not merely how it was being waged. He was a figure of strength and moral certainty, reinforcing the American ideals of justice, optimism, and indomitable will.
Yet, even as Superman evolved into something more overtly noble, the sheer audacity of his power was becoming an editorial dilemma. If Superman could lift tanks, catch bombs, and outrun fighter jets, what was stopping him from simply ending the war overnight? The answer was simple: editorial restraint. DC Comics, wary of making Superman either too political or too absurdly omnipotent, kept him focused on domestic threats—espionage rings, saboteurs, and the occasional war profiteer. Thus, Superman did not fight the war so much as he represented it—an embodiment of American invincibility in an era when such an idea was both necessary and deeply reassuring.
The Art Evolves: Joe Shuster Steps Back, and Superman Finds a More Polished Look
Visually, this volume marks a shift in Superman’s aesthetic. While Joe Shuster, Superman’s co-creator, was still credited, his involvement was diminishing as other artists took on more of the workload. What emerged was a more refined, sleeker Superman—his jawline sharper, his physique more classically heroic, his movements more fluid. The once-bulky strongman of 1938 was beginning to look less like a circus performer and more like the streamlined symbol of heroism that would dominate American pop culture for decades.
This transition is most evident in the way Superman moves through the panels. The once-stiff action sequences, filled with static poses and slightly awkward proportions, now crackle with energy. The artwork—though still crude by modern standards—begins to embrace dynamic perspectives, dramatic angles, and a greater sense of motion. Superman is no longer just doing things; he is soaring, rushing, commanding his environment in a way that signals his impending transition from a mere comic book character to a full-blown American archetype.
Clark Kent: The Transformation of the Mask
One of the more intriguing elements of this volume is the continued evolution of Clark Kent. In the earliest Superman stories, Clark was barely a character—a mere disguise that Superman tolerated, a flimsy excuse for him to be present when the plot demanded it. Here, however, Clark becomes more than just a journalist with glasses; he begins to take on the persona of the mild-mannered everyman, a deliberate contrast to the power he hides beneath his suit.
This is where one begins to see the real genius of Superman’s mythology. Unlike Batman, whose dual identity is a psychological balancing act, Superman’s secret is not that he is pretending to be Clark Kent, but rather that Clark Kent is an intentional deception—an exaggerated performance of human frailty. This tension between Superman and Clark Kent would only deepen in later years, but in these early stories, the seeds are clearly being planted.
A New Kind of Villain: From Street Thugs to Mad Scientists
Superman’s adversaries in Volume 2 are a noticeable departure from those in Volume 1. While his earliest foes were primarily corrupt businessmen, domestic criminals, and generic tough guys, this volume sees the emergence of a new kind of enemy: the mad scientist. Figures like Luthor—his name not yet prefixed by “Lex”—begin to introduce a new kind of conflict, one that pits Superman not merely against injustice, but against science gone awry.
This shift is significant. It marks the beginning of Superman’s journey from grounded, street-level heroism to something grander, more mythic. The problems he faces are no longer just human failings; they are technological abominations, existential threats, and absurdly elaborate doomsday schemes. The larger-than-life Superman that would define the Silver Age is starting to take shape.
Final Verdict: The Refining of a Legend
The Golden Age Superman Omnibus, Volume 2 is not just a collection of vintage comics; it is a document of Superman’s first major transformation. The stories are more polished, the art more dynamic, the mythology more deliberate. This is no longer just the bold experiment of two young men from Cleveland; it is the early draft of a legend.
For those interested in comic book history, this volume is essential reading. It captures the precise moment when Superman stopped being merely popular and started becoming permanent.
Final Thought: Superman and the Mythology of American Exceptionalism
One closes this volume with a striking realization: Superman, even in his infancy, was already functioning as a uniquely American myth. He is not merely strong; he is just. He does not rule; he serves. He does not seek vengeance; he restores balance.
Superman, in this volume, ceases to be just a character and becomes an idea—a deeply American belief that strength should exist not for its own sake, but for the defense of the powerless.
This, perhaps, is why Superman has endured. He is not bound to any one era, because he is not merely a product of history—he is a reflection of what America wants to believe about itself.
And in a world where cynicism is cheap and heroism often feels naïve, that idea remains more necessary than ever.
Superman still flies.
As well he should.
April 3, 2019
Superman Golden Age vol 2 gives us more feel-good stories from the early 1940's. Every one of these stories is a relic, and a lot of fun to read.
July 6, 2020
Absolute classic golden age Superman stories.
Displaying 1 - 4 of 4 reviews