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Action Comics
Action Comics #1 (June 1938), the debut of Superman.
Art by Joe Shuster.
Publication information
PublisherDC Comics
Schedule
List
  • (vol. 1)
    Monthly: #1–600
    Weekly: #601–642
    Monthly: #643–904
    (vol. 2)
    Monthly: #1–52
    (vol. 1 cont.)
    Twice-monthly: #957–999
    Monthly: #1000-Present
FormatOngoing series
Genre
Publication date
List
  • (vol. 1)
    June 1938 – October 2011
    (vol. 2)
    November 2011 – July 2016
    (vol. 1 cont.)
    August 2016–present
No. of issues
List
  • (vol. 1)
    906 (#1–904 plus issues numbered 0 and 1,000,000) and 13 Annuals[1]
    (vol. 2)
    57 (#1–52 plus issues numbered 0 and 23.1 through 23.4) and 3 Annuals[2]
    (vol. 3)
    100 (#957–1056) and 2 Annuals (as of August 2023 cover date)
Main characterSuperman
Creative team
Written by
List
  • Vol. 1:
    Jerry Siegel (1-61, 69, 72-77, 81-83, 87, 97-98, 101, 104-105, 259, 261, 264-287, 289-291, 299, 322, 326, 338, 341, 351-352, 360, 373, 377, 388, 544)
    Donald Clough Cameron (58, 61–68, 70–71, 77–83, 85–86, 88–90, 99–100, 102, 107, 109, 119, 148, 151, 192)
    Robert Bernstein (225, 234, 248-249, 251-252, 255, 257-262, 276, 279, 281, 283-284, 286-287, 291, 306, 311-312, 346, 373)
    Otto Binder (127–146, 182, 195, 200, 202, 204–260, 262–265, 267–268, 270–273, 317, 320, 323, 326, 331, 335–337, 341–342, 344, 349–353, 357, 359, 361–364, 367–369, 371–372, 374–377)
    Jim Shooter (339–340, 342–345, 348, 361, 378, 380–382, 384, 451–45)
    Elliot S. Maggin (420–421, 424–431, 433–437, 440–441, 443–452, 455–460, 568, 571, 642)
    Cary Bates (354, 356, 358, 366–370, 383–390, 392, 401, 403, 405, 407–408, 410, 412, 414–416, 419, 421–423, 425–428, 430–435, 438–439, 441–442, 444–446, 450, 453–454, 456, 460–466, 468–476, 480–485, 487–499, 501–512, 544, 548–549, 581)
    Martin Pasko (438–439, 442, 447–448, 453–454, 465, 468, 500, 524, 601–612, 615–634)
    Len Wein
    George Pérez
    John Byrne (584-600, Annual #1)
    Roger Stern (601–642, 644–657, 659–665, 667–693, 696–700, 737, Annual #2–3)
    Marv Wolfman (513–516, 525–536, 539–546, 551–554, 556, 613–618, 627–628)
    Kurt Busiek
    Gail Simone
    Greg Rucka
    vol. 2:
    Andy Diggle
    Scott Lobdell
    Grant Morrison
    Greg Pak
    vol. 1 cont.:
    Dan Jurgens
    Brian Michael Bendis
    Phillip Kennedy Johnson
    Jason Aaron
    Joshua Williamson
Penciller
List
Inker
List
Collected editions
Superman Chronicles Vol 1ISBN 1-4012-0764-2
Superman Chronicles Vol 2ISBN 1-4012-1215-8
Superman in the FortiesISBN 1-4012-0457-0
Archives Vol 1ISBN 1-56389-335-5
Archives Vol 2ISBN 1-56389-426-2
Archives Vol 3ISBN 1-56389-710-5
Archives Vol 4ISBN 1-4012-0408-2
Archives Vol 5ISBN 1-4012-1188-7

Action Comics is an American comic book/magazine series that introduced Superman, one of the first major superhero characters. The publisher was originally known as Detective Comics Inc., which later merged into National Comics Publications (later National Periodical Publications), before taking on its current name of DC Comics. Its original incarnation ran from 1938 to 2011 and stands as one of the longest-running comic books with consecutively numbered issues. The second volume of Action Comics beginning with issue #1 ran from 2011 to 2016. Action Comics returned to its original numbering beginning with issue #957 (Aug. 2016).

Publication history

[edit]

The Golden Age

[edit]

Jerry Siegel and Joe Shuster saw their creation, Superman (also known as Kal-El, originally Kal-L), launched in Action Comics #1 on April 18, 1938 (cover dated June),[3] an event which began the Golden Age of Comic Books.[4][5] Siegel and Shuster had tried for years to find a publisher for their Superman character—conceived initially as a newspaper strip. Superman was originally a bald madman created by Siegel and Shuster who used his telepathic abilities to wreak havoc on humanity. He appeared in Siegel and Shuster's fanzine Science Fiction.[6] Siegel then commented, "What if this Superman was a force for good instead of evil?" The writer and artist had worked on several features for National Allied Publications' other titles such as Slam Bradley in Detective Comics.[7] They were asked to contribute a feature for National's newest publication. They submitted Superman for consideration. After re-pasting the sample newspaper strips they had prepared into comic book page format, National decided to make Superman the cover feature of their new magazine.[8] After seeing the published first issue, publisher Harry Donenfeld dismissed the featured strip as ridiculous. He ordered it never to be on the cover of the series. Subsequent reports of the first issue's strong sales and follow up investigations revealed that Superman was the reason. Thus, the character returned to the covers, becoming a permanent presence in issue 19 onward.[9]

Initially, Action Comics was an anthology title featuring several other stories in addition to the Superman story. Zatara, a magician, was one of the other characters who had his own stories in early issues. There was the hero Tex Thompson, who eventually became Mr. America and later the Americommando. Vigilante enjoyed a lengthy run in this series. Sometimes stories of a more humorous nature were included, such as those of Hayfoot Henry, a policeman who talked in rhyme. The series saw the introduction of several characters and themes that would become longstanding elements of the Superman mythos. Lois Lane made her debut in the first issue with Superman.[10] An unnamed "office boy" with a bow tie makes a brief appearance in the story "Superman's Phony Manager" published in Action Comics #6 (November 1938), which is claimed to be Jimmy Olsen's first appearance by several reference sources.[11][12][13]

New superpowers depicted for the first time for the character included X-ray vision and super-hearing in issue #11 (April 1939)[citation needed] and telescopic vision and super-breath in issue #20 (January 1940).[14]

Luthor, a villain who became Superman's arch-enemy, was introduced in issue #23 (April 1940).[15] The original Toyman was created by writer Don Cameron and artist Ed Dobrotka in issue #64 (September 1943).[16] By 1942, artist Wayne Boring, who had previously been one of Shuster's assistants, had become a major artist on Superman.[17]

The Silver Age

[edit]

Under editor Mort Weisinger,[18] the Action Comics title saw a further expansion of the Superman mythology. Writer Jerry Coleman and Wayne Boring created the Fortress of Solitude in issue #241 (June 1958)[19] and Otto Binder and Al Plastino debuted the villain Brainiac and the Bottle City of Kandor in the next issue the following month.[20]

Gradually, the size of the issues was decreased. The publisher was reluctant to raise the cover price from the original 10 cents and reduced the number of stories. For a while, Congo Bill and Tommy Tomorrow were the two features in addition to Superman. Writer Robert Bernstein and artist Howard Sherman revamped the "Congo Bill" backup feature in issue #248 (January 1959) in a story wherein the character gained the ability to swap bodies with a gorilla and his strip was renamed Congorilla.[21] The introduction of Supergirl by Otto Binder and Al Plastino occurred in issue #252 (May 1959).[22] Following this debut appearance, Supergirl adopted the secret identity of an orphan "Linda Lee" and made Midvale Orphanage her base of operations. In Action Comics #261 (February 1960), her pet cat Streaky was introduced[23] by Jerry Siegel and Jim Mooney.[24] Supergirl joined the Legion of Super-Heroes in issue #276.[25] She acted for three years as Superman's "secret weapon", until her existence was revealed in Action Comics #285 (January 1962).[26] In the view of comics historian Les Daniels, artist Curt Swan became the definitive artist of Superman in the early 1960s with a "new look" to the character that replaced Wayne Boring's version.[27] Bizarro World first appeared in the story "The World of Bizarros!" in issue #262 (April 1960).[28] Writer Jim Shooter created the villain the Parasite in Action Comics #340 (Aug. 1966).[29]

The Bronze Age

[edit]

Mort Weisinger retired from DC in 1970 and his final issue of Action Comics was issue #392 (September 1970).[18] Murray Boltinoff became the title's editor until issue #418. Metamorpho was the backup feature in issues #413–418 after which the character had a brief run as the backup in World's Finest Comics.[30] Julius Schwartz became the editor of the series with issue #419 (December 1972)[31] which also introduced the Human Target by Len Wein and Carmine Infantino in the backup feature.[32] The Green Arrow and the Black Canary became a backup feature in #421 and ran through #458, initially rotating with the Human Target and the Atom.[33] Between issues #423 (April 1973) and #424 (June 1973), the series jumped ahead by one month due to DC's decision to change the cover dates of its publishing line.[34]

A new version of the Toyman was created by Cary Bates and Curt Swan in issue #432 (February 1974).[35] Issues #437 (July 1974) and #443 (Jan. 1975) of the series were in the 100 Page Super Spectacular format.[36] Martin Pasko wrote issue #500 (October 1979) which featured a history of the Superman canon as it existed at the time[37] and was published in the Dollar Comics format.[38]

The superheroine Vixen made her first appearance in Action Comics #521 (July 1981).[39] To mark the 45th anniversary of the series, Lex Luthor and Brainiac were both given an updated appearance in issue #544 (June 1983). Lex Luthor dons his war suit for the first time in the story "Luthor Unleashed!"[40] and Brainiac's appearance changes from the familiar green-skinned android to the metal skeletal-like robot in the story "Rebirth!".[41] Keith Giffen's Ambush Bug character made appearances in issues #560,[42] #563,[43] and #565.[44] Action Comics #579, written by Jean-Marc Lofficier and drawn by Giffen, featured an homage to Asterix where Superman and Jimmy Olsen are drawn back in time to a small village of indomitable Gauls.[45] Schwartz ended his run as editor of the series with issue #583 (September 1986) which featured the second part of the "Whatever Happened to the Man of Tomorrow?" story by Alan Moore and Curt Swan.[46]

The Modern Age

[edit]

Following the events of Crisis on Infinite Earths, writer/artist John Byrne relaunched the Superman franchise in The Man of Steel limited series in 1986.[47] Action Comics became a team-up title with issue #584 (January 1987) featuring Superman and the New Teen Titans.[48] Other costars during this period included the Phantom Stranger,[49] the New Gods,[50] Etrigan the Demon,[51] Hawkman and Hawkwoman,[52] the Green Lantern Corps,[53] the Metal Men,[54] Superboy,[55] Big Barda,[56] Mister Miracle,[57] Booster Gold,[58] the Martian Manhunter,[59] the Spectre,[60] Lois Lane and Lana Lang,[61] Checkmate,[62] Wonder Woman,[63] and the Man-Bat.[64] The first Action Comics Annual was published in 1987 and featured Superman teaming with Batman in a story written by Byrne and drawn by Arthur Adams.[65] A DC Comics Bonus Book was included in issue #599 (April 1988).[66]

From May 24, 1988 – March 14, 1989,[67] the publication frequency was changed to weekly, the title changed to Action Comics Weekly, and the series became an anthology.[68] Prior to its launch, DC cancelled its ongoing Green Lantern Corps title and made Green Lantern and his adventures exclusive to Action Comics Weekly.

The rest of these issues featured rotating serialized stories of other DC heroes, sometimes as try-outs that led to their own limited or ongoing series. Characters with featured stories in the run included Black Canary, Blackhawk, Captain Marvel, Catwoman, Deadman, Nightwing, Phantom Lady, Phantom Stranger, the Secret Six, Speedy, and Wild Dog. Titles spun off from Action Comics at this time included a Catwoman miniseries and a Blackhawk ongoing, in both cases by the same creative teams that worked on the weekly serials. During and after Action Comics Weekly's run, two Green Lantern Specials were published in late 1988 and the second in spring 1989, the latter special wrapping up the storylines from the Green Lantern serials in Action Comics Weekly. Each issue featured a two-page Superman serial, a feature that, according to an editorial in the first weekly issue, was intended as a homage to the Superman newspaper strips of the past.

The final issue of the weekly was originally intended to feature a book-length encounter between Clark Kent and Hal Jordan by writer Neil Gaiman.[69] While Gaiman's story primarily teamed up Green Lantern and Superman, it also featured other characters from Action Comics Weekly, including the Blackhawks (in flashback), Deadman, and the Phantom Stranger. The story ran counter to DC editorial policy at the time as it portrayed Hal Jordan and Clark Kent as old friends who knew each other's secret identities. This was not considered canon in 1989 and Gaiman was unwilling to change this aspect of the story (as each serial in ACW was edited by different editors, continuity was not being maintained by DC editorial).[69] The story was pulled and a different story, written by Elliot S. Maggin, was run. Gaiman's story was finally published as a one-shot in Green Lantern/Superman: Legend of the Green Flame in November 2000.

The Action Comics Weekly experiment lasted only until the beginning of March 1989 and after a short break, issue #643 (July 1989) brought the title back onto a monthly schedule.[68] Writer/artist George Pérez took over the title[70] and was joined by scripter Roger Stern the following month.[71]

As writer of the series, Stern contributed to such storylines as "Panic in the Sky"[72] and "The Death of Superman". He created the Eradicator in Action Comics Annual #2[73][74] and later incorporated the character into the "Reign of the Supermen" story arc beginning in The Adventures of Superman #500.[75] The Eradicator then took over Action Comics as "the Last Son of Krypton" in issue #687 (June 1993).[76]

Stern wrote the 1991 story wherein Clark Kent finally revealed his identity as Superman to Lois Lane.[77][78]

Cover of Action Comics #800 (April 2003), a modern take on the cover of Action Comics #1, art by Drew Struzan

Several major Superman storylines crossed over with Action Comics including "Emperor Joker" in 2000[79] and "Our Worlds at War" in 2001.[80] John Byrne returned to Action Comics for issues #827–835 working with writer Gail Simone in 2005–2006.

After the "One Year Later" company-wide storyline, Action Comics had a crossover arc with the Superman series, entitled "Up, Up and Away!" which told of Clark Kent attempting to protect Metropolis without his powers until eventually regaining them.

The "Last Son" storyline was written by Geoff Johns and Richard Donner, the director of the 1978 film Superman, and was pencilled by Adam Kubert. This story introduces the original character, Christopher Kent, and adapts Ursa and Non, who were created for Superman, into the main DC Universe continuity.[81] Issue #851 (August 2007) was presented in 3-D.[82]

Starting with issue #875 (May 2009), written by Greg Rucka and drawn by Eddy Barrows,[83] Thara Ak-Var and Chris Kent, took Superman's place as the main protagonists of the comic, while Superman left Earth to live on New Krypton. A Captain Atom backup feature began in issue #879 (September 2009).

On February 22, 2010, a copy of Action Comics #1 (June 1938) sold at auction for $3 million, besting the $317,000 record for a comic book set by a different copy, in lesser condition, the previous year. The sale, by an anonymous seller to an anonymous buyer, was through the Manhattan-based auction company ComicConnect.com.[84]

Although DC had initially announced Marc Guggenheim as writer of the title following the War of the Supermen limited series,[85] he was replaced by Paul Cornell.[86] Cornell featured Lex Luthor as the main character in Action Comics from issues #890–900[87] and Death appeared in issue #894, with the agreement of the character's creator, Neil Gaiman.[88] In April 2011, the 900th issue of Action Comics was released. It served as a conclusion for Luthor's "Black Ring" storyline and a continuation for the "Reign of Doomsday" storyline. The final issue of the original series was Action Comics #904.

The New 52

[edit]

The title was relaunched from issue #1, as part of 2011's The New 52 by the creative team of writer Grant Morrison and artist Rags Morales.[89][90] As with all of the books associated with the relaunch, Clark Kent appears younger than the previous incarnation of the character. Action Comics focus on the early days of Superman's career, while the Superman series focus on Superman's present. Superheroes at large have appeared only in the past five years, and are viewed with at best, suspicion, and at worst, outright hostility. The storyline in Action Comics takes place about a year before the events of Justice League #1, and was referred to by DC co-publisher Dan DiDio as "DC Universe Year Zero" while JL operates as "Year One."[91] The Man of Steel is not yet trusted by Metropolis citizens and wears a basic costume consisting of a caped T-shirt, jeans and work boots. The first issue has had five printings as of March 2012.[92]

The first story arc of the relaunched series, entitled Superman and the Men of Steel for the collected edition, begins very early in Superman's career as he starts making a name for himself as a champion of the oppressed in Metropolis. He captures the attention of the military and scientist Lex Luthor, who are both interested in testing his capabilities as well as discovering what kind of threat he represents.

Following the completion of Morrison's storyline, writer Andy Diggle and artist Tony Daniel became the new creative team on the title with issue #19. Unlike the previous issues, the setting for the Action Comics series would now take place in the present. Diggle announced his resignation as the writer of the series shortly before his first issue went on sale.[93] Diggle left the title with only one issue completed (he was co-writer for #20 and co-plotted issue #21), with Daniel taking on full scripting and art duties for the two following issues completing the three-part story arc "Hybrid". Scott Lobdell wrote the series after Diggle and Daniel's departure.[94] Writer Greg Pak and artist Aaron Kuder became the new creative team on the series with issue #25 (Jan. 2014).[95] This series concluded with issue #52 (July 2016), which was part of the "Final Days of Superman" storyline which depicted the death of the "New 52" version of Superman.[96]

DC Rebirth

[edit]

As part of DC Comics' DC Rebirth relaunch in June 2016, Action Comics reverted to its original numbering beginning with Action Comics #957. Written by Dan Jurgens, the series ships twice-monthly[97] and serves as a continuation of the comic book series Superman: Lois and Clark, which featured the pre-Flashpoint Superman alongside his wife, Lois Lane, and their son, Jon Kent.[98][99]

Three men seated onstage, flanked by Superman material
The Library of Congress hosting a discussion with Dan Jurgens and Paul Levitz for Superman's 80th anniversary and the 1,000th issue of Action Comics

For the series' 1000th issue—released on April 18, 2018, the 80th anniversary of the premiere issue—DC returned Superman to his traditional costume with the red trunks and yellow belt.[100] Action Comics #1000 collects the regular cover, blank variant cover, eight covers spanning eight decades from the 1930s-2000s, nineteen other variant covers from variant artists, and a hardcover Action Comics: 80 Years of Superman Deluxe Edition.

Brian Michael Bendis became the new writer for the Action Comics series starting with issue #1001.[101][102]

Infinite Frontier

[edit]

Starting with issue #1029, the title became a part of the Infinite Frontier relaunch in March 2021. Phillip Kennedy Johnson became the lead writer on the series, as well as its companion series Superman.[103][104]

Publication changes and special numbering

[edit]

Action Comics is the longest-running DC Comics series by number of issues, followed by Detective Comics. A departure from a strict monthly schedule was four giant-size Supergirl reprint issues published as a 13th issue annually: issues #334 (March 1966), #347 (March–April 1967), #360 (March–April 1968), and #373 (March–April 1969). Action Comics has not had an uninterrupted run, having been on a three-month hiatus on two separate occasions. The first of these occurred during the summer of 1986, with issue #583 bearing a cover date of September, and issue #584 listing January 1987. The regular Superman titles were suspended during this period to allow for the publication of John Byrne's six-issue The Man of Steel limited series.[68] Publication was again suspended between issues #686 and #687 (February and June 1993) following the "Death of Superman" and "Funeral for a Friend" storylines, before Action Comics returned in June 1993 with the "Reign of the Supermen" arc.[68]

The series was published weekly from May 24, 1988, to March 14, 1989.[67] (See detail in The Modern Age section above.) The temporarily increased frequency of issues allowed Action Comics to further surpass the older Detective Comics in the number of individual issues published. It surpassed Detective Comics in the 1970s when that series was bimonthly for a number of years. This change lasted from issue #601 to issue #642. During this time, Superman appeared only in a two-page story per issue; he was still the only character to appear in every issue of the series.

An issue #0 (October 1994) was published between issues #703 and #704 as part of the Zero Month after the "Zero Hour: Crisis in Time" crossover event. There was an issue #1,000,000 (November 1998) during the "DC One Million" crossover event in October 1998 between issues #748 and #749.

On June 1, 2011, it was announced that all series taking place within the shared DC Universe would be either canceled or relaunched with new #1 issues, after a new continuity was created in the wake of the Flashpoint event. Although being DC's longest running series, having reached issue #904 at the end of its initial run, Action Comics was no exception, and the first issue of the new series was released on September 7, 2011.[2]

In February 2016, it was announced that as part of the DC Rebirth relaunch, Action Comics would resume its original numbering system, starting with issue #957 (Aug. 2016) and ship on a twice-monthly schedule.[97]

Collected editions

[edit]

The Action Comics series is included in many trade paperbacks and hardcovers. These generally reprint only the Superman stories from the given issues.

Awards

[edit]

Action Comics #684 was part of "The Death of Superman" storyline which won the Comics Buyer's Guide Fan Award for "Favorite Comic Book Story" for 1992. Action Comics #687–691 were part of "The Reign of the Supermen" storyline, which won the same award for 1993.[113]

In other media

[edit]
  • In The Simpsons episode "Homer's Barbershop Quartet" (1993), Homer scavenges through a box of priceless artifacts, one of the items being the very first copy of Action Comics, which he dismisses all as junk and worthless.
  • In The Iron Giant (1999), Hogarth shows the titular robot a collection of comic books, including an issue of Action Comics featuring Superman, and notes the Giant's comparison between him.
  • Superman Returns (2006) features a scene in which Superman holds a car over his head in the same pose.
  • In Batman v Superman: Dawn of Justice (2016), Lex Luthor's inmate number is AC-23-19-40, a reference to Luthor's first appearance in Action Comics as well as a newspaper clipping of Superman holding a car over his head in the same pose.
  • The series premiere of Superman & Lois (2021) features a scene in which Superman saves a child from an uncontrolled green car, homaging the iconic #1 cover.

Sales

[edit]
Action Comics sales
Year(s) Sales (est.) Revenue (est.)
1960–1989 170,851,312[114] $34,752,239[114]
1993 2,203,000[115] $4,103,250[115]
1996–2001 3,055,766[116] $5,958,744[116]
2002–2006 2,400,000[116] $5,400,000[116]
2007–2008 1,200,000[116] $3,588,000[116]
2009 192,400[117] $575,276[116]
2010 439,000[118] $1,778,610[118]
2011 950,600[119] $3,677,494[119]
2012 1,035,600[120] $4,326,044[120]
2013 777,500[121] $3,528,125[121]
2014 583,704[122] $2,507,133[122]
2015 440,757[123] $1,784,243[123]
2016 1,080,297[124] $3,440,779[124]
2017 1,179,798[125] $4,118,675[125]
2018 1,119,097[126] $6,995,333[126]
Total 187,508,831 $86,533,945

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Action Comics

View on Grokipedia
from Grokipedia
Action Comics is an American superhero comic book anthology series published continuously by DC Comics since 1938, renowned for introducing the iconic character Superman in its debut issue and establishing the foundation of the modern superhero genre. The series began with Action Comics #1, released on April 18, 1938 (cover-dated June), under the publisher National Allied Publications, a predecessor to DC Comics, and featured the first appearance of Superman, created by writer Jerry Siegel and artist Joe Shuster, along with reporter Lois Lane. This inaugural issue presented a concise one-page origin for Superman, depicting his escape from a dying planet in a prototype rocket ship, his adoption by a passing motorist who leaves him at an orphanage, and his growth into an adult who uses his superhuman abilities to fight evil and crime in a great American city. Initially conceived as an anthology to showcase diverse adventure stories, Action Comics quickly became synonymous with Superman's adventures, evolving into a cornerstone of DC's publishing lineup and influencing countless narratives. The series marked the dawn of the of Comics (1938–1950s), propelling the popularity of superhero tales and leading to the creation of other enduring characters within the . By 2018, Action Comics achieved the title for the longest-running superhero comic book series, commemorating its 80th anniversary with issue #1000—a 80-page special edition featuring contributions from acclaimed creators like and , and boasting a print run exceeding 500,000 copies. Throughout its history, Action Comics has undergone several creative relaunches and numbering adjustments, including a 2011 reboot as part of DC's "" initiative and a 2016 continuation under Volume 3, while maintaining its focus on Superman's exploits amid evolving threats and supporting casts. As of 2025, the series remains active, with issue #1092, released on November 12, 2025, exploring Superman's return to and confrontations with villains like , under the creative direction of writers such as .

Creation and Debut

Origins and Development

In the midst of the Great Depression, National Allied Publications—later rebranded as DC Comics—emerged as a key player in the nascent comic book industry, founded in 1934 by Major Malcolm Wheeler-Nicholson to capitalize on the demand for affordable entertainment amid economic hardship. By the late 1930s, the company was actively seeking fresh, high-impact content to drive sales, particularly in the superhero genre, which promised escapist heroism reflective of the era's social anxieties and aspirations. This push aligned with broader industry trends, as publishers turned to original material to differentiate from reprinted newspaper strips and attract a mass audience struggling through unemployment and uncertainty. Editor Vin Sullivan played a pivotal role in curating Action Comics as an , tasked by co-owner Jack Liebowitz with rapidly assembling diverse stories under tight deadlines to launch the title as National's fourth . Sullivan focused on a mix of adventure, mystery, and humor features to create a dynamic, value-packed format that could compete in the 10-cent market, drawing from freelance submissions and established creators to fill the issue's pages. A cornerstone of this effort was the submission of the Superman concept by writers-artist duo Jerry Siegel and Joe Shuster, high school friends from Cleveland who had refined the character over years of rejection from newspaper syndicates seeking comic strips. Exhausted by repeated dismissals, including critiques of the idea's immaturity, they pitched the prototype directly to comic book publishers, leading to a deal with National Allied Publications in late 1937. On March 1, 1938, Siegel and Shuster sold all rights to Superman for $130 via a check from Detective Comics Inc., marking a modest transaction that belied the character's future impact. This acquisition anchored the anthology, with Sullivan integrating it alongside contributions from other talents. Action Comics debuted with a of June 1938—actually hitting newsstands on April 18—and was priced at 10 cents to appeal to Depression-era buyers, featuring a standard trim size of approximately 10.5 by 7.75 inches for easy handling and display. This launch solidified National Allied's model, blending Superman's introduction with varied tales to establish Action Comics as a series.

Issue #1: Superman's Introduction

The cover of Action Comics #1, illustrated by , depicts Superman hoisting a car overhead in a display of , with terrified onlookers clinging to the vehicle's sides amid a chaotic urban scene, symbolizing the hero's intervention against threats to the innocent. The lead 13-page story, titled "Superman," written by and illustrated by , marks the character's debut as the archetype of the modern superhero. It introduces Clark Kent as a mild-mannered reporter for the Daily Star newspaper (later renamed the in subsequent stories), who leads a double life as the powerful . The narrative opens with a concise origin across three panels on the first page: an infant from the doomed planet is rocketed to by his scientist father just before the world's destruction, where he is adopted and named Clark Kent, growing to possess extraordinary abilities including immense strength, the power to leap tall buildings and one-eighth of a mile, speed surpassing an express train, and imperviousness to bullets. In the main plot, combats social ills and crime, such as preventing the execution of an innocent woman, assaulting a wife-beater, rescuing —introduced as a bold fellow reporter—from a named Butch Matson, and exposing a corrupt U.S. senator profiting from warmongering by blackmailing a lobbyist into confessing. These vignettes establish Superman's role as a champion of the oppressed, operating without legal authority to deliver vigilante justice. Complementing the flagship feature, Action Comics #1 includes several anthology backup stories that reflect the era's diverse pulp influences. "Zatara the Magician," a 6-page adventure by writer-artist Fred Guardineer, introduces the stage magician Zatara and his assistant Tong as they solve a train robbery mystery using hypnotic spells and clever illusions, blending mystery with supernatural elements. A 2-page text filler titled "South Sea Strategy" provides prose narrative focused on nautical intrigue by Captain Frank Thomas (pseudonym of Vincent Sullivan). A 4-page comic under the Tex Thomson feature, by Bernard Baily, follows the titular hero in a murder mystery set in England involving a femme fatale. The issue's other strips include Chuck Dawson (western by Homer Fleming), Pep Morgan (boxing by Fred Guardineer), Scoop Scanlon (detective by Will Ely), Sticky-Mitt Stimson (humor by Alger), and The Adventures of Marco Polo (historical by Sven Elven). These varied tales filled the 64-page issue, priced at 10 cents, showcasing National Allied Publications' (later DC Comics) strategy of mixing genres to appeal to broad audiences. With an initial print run of approximately 200,000 copies, Action Comics #1 sold out rapidly upon its April 18, 1938, release (cover-dated June), prompting quick reprints and overwhelming fan mail that highlighted the Superman story's appeal. Early critical buzz appeared in nascent comic fanzines and letters columns of other publications, praising the innovative hero and his creators for injecting excitement into the medium. Historically, the issue holds profound significance as the first major comic book, pioneering enduring tropes like the , the caped crusader's moral code, and direct heroic intervention in real-world injustices such as and , thereby launching the of comics and influencing generations of storytelling.

Publication History

Golden Age (1938–1956)

Action Comics began as an in 1938, featuring a variety of adventure strips alongside 's debut story. Early issues included characters like , Zatara the Magician, and Pep Morgan, establishing a diverse lineup that reflected the pulp adventure influences of the era. By the early 1940s, the title had solidified as its lead feature while retaining backup stories such as those of , who debuted in issue #42 (November 1941) and ran through issue #198 (1954), Congo Bill, introduced in issue #48 (May 1942), and later Tommy Tomorrow, added in issue #149 (March 1950) to capitalize on interest in space exploration. The creative team initially centered on co-creators and , who wrote and illustrated Superman's adventures until their contract disputes with DC Comics escalated, culminating in a 1947 over rights to the character. Following the and amid ongoing tensions, Siegel and Shuster's direct involvement diminished, paving the way for new talent. joined as editor of of titles in 1946, overseeing Action Comics and infusing stories with a mix of adventure and emerging elements. Wayne Boring, hired by National Comics in 1942, became a key illustrator for Superman starting in the late , known for his dynamic, monumental depictions of the hero that defined the visual style through the 1950s. World War II profoundly shaped the series, with Superman stories from issues #23 (April 1940) through #100 (September 1946) emphasizing patriotic themes and direct confrontations against . Superman battled Nazi spies, smashed Japanese aircraft carriers, and promoted sales, serving as a of American resilience and moral superiority in tales that rallied public support for the Allied effort. These narratives, often written under Weisinger's early influence, portrayed the Man of Steel as an unyielding defender of , aligning with government efforts to boost morale and enlistment. The series achieved remarkable commercial success during the , with circulation peaking at over 1 million copies per month as surged in popularity amid wartime demand. This growth mirrored the broader industry's expansion, where total sales rose from 17 million monthly copies in 1940 to 68 million by 1953, driven by titles like Action Comics. paper shortages prompted operational changes, including a shift to a smaller trim size in 1948 to conserve resources and reduce costs, marking a practical that influenced the format into the . By the mid-1940s, the structure had increasingly centered on , with backup features serving to complement rather than compete with the flagship hero, solidifying the title's identity before the Silver Age transitions.

Silver Age (1956–1970)

The Silver Age of Action Comics, spanning 1956 to 1970, represented a revitalization of the series following the post-World War II slump, with editor playing a pivotal role in expanding Superman's mythos through science fiction-infused narratives. Weisinger's editorship, beginning in earnest around , introduced key elements like the in Action Comics #241 (June ), a crystalline sanctuary serving as Superman's private retreat and repository of artifacts. This innovation, inspired by pulp fiction traditions, became a cornerstone of 's lore, enabling stories that delved into his alien heritage and isolation. Under Weisinger's guidance, issues #241 through #400 further developed the expanded universe, incorporating futuristic gadgets, alternate dimensions, and interstellar threats to refresh the anthology format while centering as the lead feature. Significant character debuts marked this era's creative surge, including in Action Comics #252 (May 1959), Superman's Kryptonian cousin Kara Zor-El, who crash-landed on Earth as a teenager and was hidden in an orphanage until ready to join the fight for justice. The Phantom Zone, a intangible prison dimension for Kryptonian criminals created by , received prominent exploration in Action Comics #293 (October 1962), where Superman grapples with its ethical implications amid Red Kryptonite-induced identity splits. Early tales also appeared sporadically, starting with Action Comics #267 (August 1960), featuring the 30th-century team of young heroes who recruited a teenaged Superman (as ) for time-spanning adventures, blending superheroics with utopian sci-fi. Artistically, the period solidified as the primary penciler for stories in Action Comics from the mid-1950s onward, his clean, expressive style defining the character's heroic physique and emotional range across hundreds of issues. Swan's collaboration with inkers like George Klein brought a polished realism that contrasted earlier, more caricatured depictions, aligning with the era's emphasis on aspirational heroism. This shift complemented the 1954 Comics Code Authority's influence, which mandated toned-down violence and moral clarity in superhero tales, steering Action Comics away from wartime grit toward wholesome, imaginative exploits that appealed to younger readers. Sales rebounded notably during this time, with Action Comics averaging around 300,000 copies per issue by the early , a recovery from the low of under 200,000, driven by Weisinger's fan-engaged storytelling and the broader superhero renaissance. This commercial uptick, peaking at over 450,000 units in 1960, underscored the series' enduring appeal amid DC's Silver Age dominance.

Bronze Age (1970–1985)

The Bronze Age of Action Comics marked a shift toward more mature and socially conscious storytelling under the editorship of Julius Schwartz, who took over the Superman family of titles in 1971 following Mort Weisinger's retirement. Schwartz, known for revitalizing DC's line in the Silver Age, aimed to modernize Superman's adventures by incorporating contemporary themes such as , urban crime, and personal vulnerability, moving away from the lighter, science-fiction-heavy plots of the previous era. This transition reflected broader industry trends toward relevance, with stories addressing real-world issues like and social injustice to appeal to an older readership amid changing cultural attitudes. Key narratives during this period explored Superman's limitations and humanity. In Action Comics #484 (1978), writer Martin Pasko and artist introduced the villain , a gunslinger with a personal vendetta against , exemplifying the era's blend of Western and sci-fi elements in tales that underscored themes of resilience and adaptation. Artistic contributions from inker Murphy Anderson, who frequently collaborated with Swan on Action Comics covers and interiors, added a polished, dynamic style that enhanced the emotional depth of these stories. Action Comics also featured expanded interactions with the , including crossovers and guest appearances that highlighted team dynamics. Superman frequently crossed paths with the in shared adventures, such as coordinated efforts against interstellar threats, while team-ups with emphasized thematic contrasts between their powers and philosophies in stories tackling global crises. These collaborations, often scripted by Bates, broadened the series' scope and integrated it more tightly with DC's ensemble narratives. Amid these creative evolutions, the comic book industry faced significant challenges, including market saturation from an influx of titles and rising production costs, leading to declining sales for established series like Action Comics. By the mid-1970s, average paid circulation for the title had dropped to around 140,000 copies per issue, down from Silver Age highs exceeding 300,000, as competition from Marvel and independent publishers fragmented the audience. Despite these pressures, Schwartz's oversight sustained the series through innovative plots, culminating in milestone issues like #500 in 1979, which celebrated Superman's legacy with tales amid ongoing sales in the low 100,000s range.

Modern Age (1985–2011)

Following the events of Crisis on Infinite Earths, DC Comics relaunched its Superman titles in 1986 with a revised continuity, integrating John Byrne's six-issue The Man of Steel miniseries (June–December 1986) as the new canonical origin story. This miniseries streamlined Superman's powers to a more balanced set based on a solar-powered physiology, while retaining key vulnerabilities such as Kryptonite—and updated his backstory to emphasize Clark Kent's human upbringing over his alien heritage, portraying him as the sole survivor of Krypton without a vast supporting cast like Supergirl or Krypto. Action Comics then resumed with issue #584 (January 1987), where Byrne served as writer and artist through #600 (May 1988), focusing on standalone adventures that explored Superman's role in Metropolis while tying into the post-Crisis DC Universe, such as crossovers with Batman in The Man of Steel #3. Byrne's departure led to an experimental phase with Action Comics Weekly (#601–642, May 1988–March 1989), transforming the series into a weekly anthology featuring short stories from various DC characters, including Superman segments written by Roger Stern with art by . After reverting to a monthly Superman-focused format in #643 (April 1989), Stern continued as primary writer through much of the 1990s, emphasizing character-driven narratives centered on the staff, such as Lois Lane's journalistic pursuits and Clark Kent's balancing of his dual identities in arcs like "Secrets in the Night" (#662, September 1990). Contributors like artist and writer , who helmed parallel Superman titles, collaborated on interconnected storylines, introducing supporting characters such as —a tough, loyal bar owner and Superman fan—first appearing in the broader of books in 1987 before recurring in Action Comics (#674, February 1992). Stern's run, spanning #643–700 (1989–1994), built pre-Flashpoint continuity by deepening themes of heroism amid urban decay and personal relationships. A pivotal event was the "Death of Superman" storyline (1992–1993), with Action Comics contributing key tie-in issues #684 (December 1992)–#698 (February 1994), co-plotted by Stern, Jurgens, Ordway, and Louise Simonson. Issue #684 depicted the brutal final battle between Superman and the rampaging Doomsday in Metropolis, culminating in their mutual deaths, while subsequent issues covered the "Funeral for a Friend" mourning period (#685–686) and the "Reign of the Supermen!" arc (#687–692, 694–698), introducing four Superman impostors (the Man of Tomorrow, the Last Son of Krypton, Superboy, and Steel) before revealing the real Superman's return empowered by Kryptonian regeneration. This saga, spanning multiple titles, marked a high point in sales, with Action Comics #687 exceeding 1 million copies sold, driven by widespread media hype and collector interest. The era concluded with ongoing arcs reinforcing Superman's legacy, setting the stage for further continuity explorations until the 2011 Flashpoint reboot.

New 52 (2011–2016)

The initiative relaunched Action Comics with issue #1 in September 2011, written by and illustrated by Rags Morales, as part of DC Comics' company-wide reboot following the Flashpoint event. This issue served as a set five years in the past relative to the concurrent series (volume 2), depicting 's early adventures as a nascent in while establishing a dual-numbering system that continued the legacy count from the original series (starting at #904 for the New 52 #1). The relaunch emphasized a younger, more impulsive , drawing retro influences from depictions, including a socially activist stance against corruption and inequality. Morrison's run, encompassing issues #1–18 from 2011 to 2012, portrayed this version of Superman as akin to an —raw, unpolished, and operating outside , often in a makeshift of , boots, and a emblazoned with his house sigil. Key arcs included the introductory "Superman and the Men of Steel" (#1–6), where Superman confronts Lex Luthor's experimental weapons and the vigilante group the , and the "Act of Treason" storyline, highlighting governmental paranoia toward his "illegal alien" status and vigilante actions as perceived threats to . Later segments like "Superman Versus the City of Tomorrow" (#9–12) and "" (#13–18) incorporated retro elements such as alternate-dimensional threats and classic foes like Brainiac, blending pulp-era optimism with modern deconstruction. Guest artists, including Gene Ha on issues like #9 and #16, complemented Morales' dynamic, kinetic style, evoking the era's newsreel aesthetic. Following Morrison's departure, writer and artist Tony S. Daniel assumed creative duties starting with issue #19 in 2013, shifting focus to more grounded urban conflicts. Their notable arc, "Superman vs. the City" (#19–24), explored 's clashes with a militarized under the influence of the villainous convict Zod, emphasizing themes of heroism amid societal breakdown. The run maintained the timeline initially but increasingly bridged to contemporary events, though it faced criticisms for continuity inconsistencies, such as conflicting portrayals of 's powers, origins, and relationships with allies like across line. Sales for Action Comics started strong at over 182,000 copies for #1 but averaged approximately 70,000 copies monthly by mid-run, reflecting sustained but declining interest amid broader reboot fatigue.

DC Rebirth and Infinite Frontier (2016–2023)

The era began with the relaunch of Action Comics in issue #957, dated June 2016, written by with art by Patrick Zircher. This issue introduced the pre-Flashpoint from the Lois and Clark miniseries, restoring key elements of his classic characterization, including his role as a family man with wife and their young son Jon Kent, while reinstating traditional powers such as flight and enhanced strength under a yellow sun. The relaunch partially reverted reboot's alterations, merging pre-Flashpoint continuity with the post-Flashpoint universe to emphasize 's hopeful, protective legacy. Jurgens' run kicked off with the "Path of Doom" arc in issues #957–962, where Superman allies with Lex Luthor and Wonder Woman to battle a rampaging Doomsday, while navigating tensions over Luthor's emerging role as Metropolis's armored guardian. The storyline explored themes of rivalry and reluctant cooperation, setting the tone for Rebirth's focus on interpersonal dynamics amid high-stakes action. Jurgens continued writing through issue #976, contributing to the "Superman Reborn" crossover that fully integrated the pre- and post-Flashpoint Supermen into a single entity, solidifying the restored family unit. In 2018, Action Comics reached its milestone #1000 issue, an oversized anthology celebrating 80 years of the series with contributions from creators including , , Tom King, and , alongside art from , Olivier Coipel, and Patrick Gleason. The issue featured two lead 20-page stories, eight shorter tales spanning Superman's eras, and a "Jam" section with 46 one-page backup vignettes from a diverse array of past and present talent, honoring the title's anthology roots. Marking Bendis's debut at DC after his Marvel tenure, #1000 sold over 500,000 copies worldwide, the highest for any American comic that year and a commercial peak for the Rebirth line. Bendis assumed writing duties from #1001 to #1028, introducing cosmic threats like Rogol Zaar and the United Planets initiative, while deepening Jon Kent's growth as . The transition to in 2021 expanded DC's multiverse into an "Omniverse" framework, allowing broader canon integration and legacy storytelling. Action Comics #1029, written by Phillip Kennedy Johnson with art by Phil Hester and Eric Gapstur, served as a , focusing on Superman's evolving relationship with Jon amid interstellar perils. Johnson's run launched the "" across issues #1030–1050, where Superman assembles the —including characters like Apollo, , and Lightray—to liberate the Phaelosians, a Kryptonian-related enslaved race, from the tyrant Mongul's gladiatorial empire on Warworld. The arc delved into themes of resistance and moral leadership, culminating in a revolution that reshaped 's galactic role and highlighted multiversal connections to Krypton's lost history. Contributors like Mitch Gerads provided variant covers and artistic input during this period, enhancing the saga's visual intensity.

Dawn of DC and Contemporary Era (2023–present)

In 2023, as part of the initiative, Action Comics was relaunched with issue #1051, written by Phillip Kennedy Johnson and illustrated by Rafa Sandoval, introducing a new format featuring multiple stories in a single issue. This relaunch emphasized epic adventures centered on and his allies, marking a fresh narrative direction following the era. The series progressed into the "House of Brainiac" arc, spanning issues #1060–1066, where and the Super family confronted Brainiac's invasion of , including the emergence of the Brainiac Queen and cosmic threats to Earth. This storyline, building on earlier teases of Brainiac's return, culminated in high-stakes battles involving the entire Superman lineage against Brainiac's forces. In 2024, under the DC All In banner, the title transitioned to a 12-issue weekly arc titled "Phantoms" by writer and artist Clayton Henry, running from #1070 to #1081 and focusing on otherworldly horrors menacing and the Super family. The narrative highlighted 's efforts to protect his city from spectral threats, blending action with character-driven explorations of legacy and vulnerability. The 2025 Summer of Superman initiative further expanded the series' scope, with issues #1082–1092 previewing stories involving and a future-obsessed navigating challenges in the City of Tomorrow. This ongoing volume 3, which began in 2016, continues to #1092 as of November 2025, incorporating these developments into broader Superman mythos events. Sales for the title have stabilized at 40,000–60,000 copies per issue during this era, reflecting adaptations to amid industry-wide shifts.

Publication Formats and Changes

Numbering and Special Editions

Action Comics has employed a legacy numbering system since its inception in June 1938, allowing it to maintain continuity across reboots and reach issue #1000 in April 2018 as an oversized anniversary edition celebrating 80 years of publication. By late 2022, the series had advanced to #1050, solidifying its status as DC Comics' longest-running title by issue count, ahead of . This persistent numbering reflects the book's foundational role in , with over 1,090 issues published as of November 2025 despite multiple universe-wide relaunches. The New 52 reboot in 2011 prompted a renumbering to #1, equivalent to legacy #905 in fine print on covers, comprising 52 issues plus a special #0 issue in September 2012 that explored prequel stories. The initiative in June 2016 restored legacy numbering without a full reset, resuming at #957 for what is sometimes designated as Volume 3, enabling seamless progression toward milestones like #1000. Special editions have augmented the main series throughout its history. Annuals debuted in October 1987 with Action Comics Annual #1, teaming with Batman in a story by John Byrne and Arthur Adams, and continued irregularly, such as Annual #11 in May 2008, which concluded the "Last Son" arc with confronting and the . In the , DC issued giant-sized formats like the 100-Page Super Spectaculars from 1972 to 1975, reprinting tales alongside new content to capitalize on nostalgia and expanded page counts. Facsimile editions preserve the original 1938 format of , with reprints including the 1988 Millennium Edition, various 2000s versions, a 2022 release that replicated the issue's tales, ads, and newsprint quality for modern collectors, and a 2025 edition released in January. The ongoing Volume 3, launched under Rebirth in 2016, sustains this legacy trajectory and is on pace to further widen its lead over in total issues.

Collected Editions

The Superman Chronicles series, published by DC Comics from 2004 to 2012, collects the early adventures of from the Golden and Silver Ages, reprinting stories originally appearing in Action Comics and related titles in chronological order across ten trade paperback volumes. In the New 52 era, Action Comics Vol. 1: Superman and the Men of Steel (2012) gathers the first eight issues of Grant Morrison's run, depicting a younger 's initial clashes with foes like and the introduction of key supporting characters. Similarly, during , Action Comics Vol. 1: Path of Doom (2016) compiles issues #957–962 by , focusing on 's uneasy alliance with against the returning Doomsday. More recent collections from the and eras include : The (2023), which incorporates Action Comics #1030–1046 and related specials like : #1 (2022) by Phillip Kennedy Johnson, chronicling 's battles on the tyrannical planet Warworld. In 2024, : of Brainiac assembles the crossover event from Action Comics #1064–1066, #13–15, and the : of Brainiac Special #1 by Joshua Williamson, exploring Brainiac's invasion and its multiversal implications. In 2025, : Action Comics by Omnibus Vol. 1 collects issues #957–976 and related titles, marking a comprehensive edition of Jurgens' Rebirth run. Key hardcover editions mark significant milestones, such as Action Comics: 80 Years of Superman: The Deluxe Edition (2018), which reprints Superman's debut in Action Comics #1 alongside stories from across eight decades, including character debuts and a new tale by and . The Action Comics #1000: The Deluxe Edition (2018) collects the landmark issue's anthology of stories by creators like , , and , plus bonus material from the 80th anniversary special. Many Action Comics stories and collected editions have been integrated into digital platforms, with comprehensive access available on since its launch in 2020, allowing subscribers to read issues and trades from the series' full history.

Commercial and Critical Reception

Sales Performance

Action Comics achieved its highest circulation during the , reaching approximately 1 million copies per month in the early 1940s amid wartime popularity of stories. Circulation began to decline in the Silver and Bronze Ages due to increased competition from television and other media, dropping to an average of around 200,000 copies by the 1970s. Sales experienced significant spikes in the tied to major story events, such as issue #684 in 1992, part of the "Death of Superman" storyline, which saw massive sales, with the crossover's flagship issue Superman #75 selling over 6 million copies, driven by tie-in hype and collector interest. Similarly, the milestone issue #1000 in 2018 sold over 500,000 copies, boosted by multiple variant covers and anniversary celebrations. During the New 52 era (2011–2016), average print sales stabilized at 80,000–100,000 copies per issue, with the 2011 relaunch of #1 generating strong initial orders of over 115,000 units before settling into consistent mid-range performance; this period also marked growth in digital sales following DC's 2011 shift to simultaneous digital releases. Rebirth and (2016–2023) maintained comparable averages of 60,000–90,000 print copies, supported by bi-weekly publishing and event-driven boosts, while digital distribution continued to expand readership beyond traditional print metrics. In the contemporary era (2023–present), print sales have continued to trend in the range of recent years, with digital sales contributing additionally and upticks from promotional events like the "Summer of Superman" initiative influencing short-term circulation. Overall, sales performance has been shaped by major tie-ins that drive temporary peaks, frequent relaunches to attract new readers, and broader economic shifts including the transition to direct market distribution and digital platforms.

Awards and Recognition

Action Comics has garnered significant recognition for its influential role in comic book history, particularly through accolades for its creators and critical acclaim for key issues and storylines. The debut issue, (1938), which introduced , is consistently ranked as the most valuable ever published in the Overstreet Comic Book Price Guide's list of the 100 most valuable comics, underscoring its foundational status in the industry. In 2018, the acquired a copy of as part of its largest-ever donation of comic books from collector Stephen Geppi, preserving this landmark issue within the nation's cultural archives. Creators Jerry Siegel and Joe Shuster received posthumous induction into the Will Eisner Comic Industry Hall of Fame in 1992 for their creation of Superman in Action Comics, honoring their pioneering contributions to the superhero genre. They were also inducted into the Jack Kirby Hall of Fame in 1993, recognizing the enduring impact of their work on the series. In 2005, Siegel and Shuster were posthumously enshrined in the Joe Shuster Canadian Comic-Book Creator Hall of Fame, tied directly to their Action Comics legacy. Additionally, in 2021, they were inducted into the Jewish-American Hall of Fame for developing Superman as an iconic figure of hope and justice. Grant Morrison's run on Action Comics (issues #1–#18, 2011–2013) earned widespread critical praise for its innovative reinterpretation of Superman's early adventures, blending aesthetics with modern storytelling; highlighted the debut issue as a bold, hype-worthy evolution of the character. The milestone issue Action Comics #1000 (2018) was celebrated by critics as a heartfelt anthology tribute to Superman's eight-decade legacy, with contributions from creators like , Tom King, and emphasizing the series' historical significance. Writer Phillip Kennedy Johnson, whose appeared in Action Comics (2021–2023) and an Eisner Award nominee for other works, has contributed to the series' ongoing narrative depth.

Adaptations and Legacy

In Other Media

The Adventures of Superman radio serial, which aired from 1940 to 1951, featured stories inspired by Superman's early adventures in the Action Comics, including elements of his role as a champion against corruption and injustice. The series began with the origin story "The Baby from Krypton" and featured formats that mirrored the serialized nature of the comics, with voice actors like as Superman. In film, the 1978 Superman directed by Richard Donner drew from Golden Age Superman stories, portraying Superman as a defender of the oppressed in a style reminiscent of early social crusader narratives. Similarly, the 2013 Man of Steel film echoed the New 52 origins from Action Comics (2011), including Superman's more alien-like early appearances in jeans and a t-shirt, and his confrontations with advanced threats in a rebooted continuity. Television adaptations have also incorporated elements from Action Comics. The series Lois & Clark: The New Adventures of Superman (1993–1997) utilized Silver Age dynamics, depicting Clark Kent's integration into the newsroom alongside and in a manner that reflected the workplace rivalries and team-ups from issues of the 1950s and 1960s. More recently, (2021–2024) incorporated Rebirth-era family elements from Action Comics, such as Clark and Lois raising their son Jonathan while balancing superhero duties, emphasizing domestic life amid threats. In animation, Superman: The Animated Series (1996–2000) adapted arcs from the and Modern Ages of Superman , including storylines featuring Luthor's schemes and Superman's vulnerabilities to , staying true to the ' evolution of the character's powers and foes. Other media includes video games like Injustice: Gods Among Us (2013), which featured character variants drawing from Superman's comic legacy, including classic suits and alternate regime designs that nod to the series' iconic covers. Additionally, the TV series (2001–2011) alluded to Superman's early heroism, such as in the pilot episode where young Clark saves a peer from a car crash, echoing foundational comic visuals. The 2025 film , directed by and released on July 11, 2025, incorporates elements from various Superman stories, including the foundational legacy of , blending classic origins with modern narratives.

Cultural Impact

, published in June 1938, is widely recognized as the launchpad for the modern superhero genre, introducing and sparking the of Comics that influenced subsequent publishers, including ' development of characters like the in the 1960s. This debut issue established core tropes such as the costumed vigilante fighting for justice, which became foundational to the industry's narrative structure and commercial model, propelling comic books from niche entertainment to a cultural . The series' early stories, particularly those from the , advocated for through Superman's confrontations with oppressors, including explicit anti-Nazi narratives that mirrored real-world threats and contributed to broader discussions on tolerance and civil rights in American society. For instance, tales depicting battling Hitler and Nazi forces not only boosted wartime morale but also helped foster anti-prejudice sentiments, as evidenced by studies showing correlations between such comic narratives and shifts in public attitudes toward . Superman, originating from Action Comics, has endured as a quintessential American symbol of hope and immigrant aspiration, permeating popular culture through parodies and references that underscore his iconic status. Satirical takes in MAD Magazine, starting in the 1950s, lampooned Superman's invincibility and moral uprightness, reflecting the character's deep integration into everyday humor and critique of heroism. Similarly, episodes of The Simpsons frequently invoke Superman as a benchmark for superhuman feats and ethical dilemmas, highlighting his role in shaping collective understandings of power and responsibility in media. Academic analyses of Action Comics emphasize the Jewish immigrant experiences of creators Jerry Siegel and Joe Shuster, interpreting Superman's origin—fleeing a doomed world to thrive in America—as an for assimilation and resilience amid . These studies, drawing from , position the series within discussions of ethnic identity in early 20th-century America. Artifacts from Action Comics, including original issues and related , are preserved in institutions like the Smithsonian, affirming the series' status as a cornerstone of American . In 2025, DC Comics' "Summer of Superman" initiative, featuring special issues and new series tied to Action Comics' legacy, demonstrates the character's ongoing , drawing renewed attention to themes of heroism in contemporary . This event, encompassing publications like the Summer of Superman Special #1, reinforces Superman's adaptability and enduring appeal across generations.

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