At least there's a story by him in the 80th anniversary special.

But only he knows for certain.

No Neal Adams or Jim Starlin either--that's surprising.  (Of course, I have no idea what's in the $20 version.)

People posted here that they didn't really care for the Steranko cover.  My store immediately sold out apparently, but somebody ordered every variant--just so she could choose her favorite!  So, the store released the rest just as I was buying DEADMAN #6, so I got to choose from the leftover variants.  I tell you, in real life, the Steranko cover really stood out!  It's beautiful and I feel really lucky to have gotten that one!

The book itself was enh.  80 pages for $8 isn't bad, and it was nice to see new Superman stories by Jerry Ordway and Jose Luis Garcia-Lopez again, and Olivier Coipel did a really nice job.  But all the stories were fairly weak.  Instead of telling "just" good stories, they all dealt with the "meaning of Superman" and nobody really seemed to grasp what that meaning is.  I suppose that could have been an editorial directive, but I'm a little sick of all the navel gazing.  (Paul Dini--who's fantastic--just contributed a little fun 5-pager drawn by Garcia-Lopez.  Peter Tomasi's "Superman through the decades" story might have been good, but the artist didn't convey the changing art styles that would have driven the point home.)

I don't know what's happening with the "new" Curt Swan story.  Is it already published art with repurposed dialogue?  And re-inked?  Butch Guice is a fantastic artist, but he really obliterates the Swan-ness of the pencils.

A lot of people here hate Bendis, but I did appreciate the dialogue in his story about how Superman "didn't look right without the red trunks"!

I enjoyed many of the stories. Tom King's surprised me with how good it was. Geoff Johns/Richard Donner doing a 1940s Superman story! Lots of fun. Same with the Tomasi/Gleason story. 

And of course I'll read anything with Garcia-Lopez art even if I don't like the story.  

The Geoff Johns/Richard Donner story looked beautiful with the Olivier Coipel art and, when I saw THE car, I thought "This is going to be great!"  But the moment Superman showed up, it was clearly the 70's/Earth 1 Superman's personality--the serious hero who wants to redeem even the worst thug and was fast enough to investigate the life story of the criminal he left hanging--NOT the fun, carefree crusader who would just as soon bust the thug's jaw or "scare him straight."  He was even floating in air!  The story was two good ideas that didn't fit together.

And can you explain the middle of the Tomasi/Gleason story to me?  Were the five pages between the German tank and the Silver Banshee supposed to represent the 50's, 60's, 70's, and early 80's periods?  If so, I think somebody should have told the artist.

I'm just not sure that today's talent can give us the Superman we all know and love.

ITEM: Butch Guice inking Curt Swan? I enjoy Guice's work, but maybe Curt Swan deserves a little better, and less overwhelming, treatment?

ITEM: Eight bucks for an eighty page giant is, to me, 32 times what I feel I should pay - until I look at my calendar. :) I understand the nature of the beast in the comic market, and I might have bought this, just for the novelty. I probably still will.

But I need Superman stories, not "Here's my story, and Superman is in it", as Mr. Byrne has cited more than once. I also dread, as Shawn noted, the "Rock Star Writer Syndrome" in this book. "Here's a Neal Adams story! Here's a Bendis story! Here's a Richard Donner story!" The only question to me is, are they Superman stories? Consistent, good, fun? If not - it's a waste of money. (Which I've stupidly done in the past, and likely will do again in the future. Sigh...)

ITEM: So is there such an escapade planned for Detective 1000? Or am I too late for that book?