X-ray vision came along pretty early in the comics...I can't cite the specific issue offhand, but ca. 1940.
(Siegel and Shuster, in their initial development of the character, did equip Superman with telescopic vision and super hearing, at least in their earliest draft weeklies.).
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[Super-Hearing: Action Comics #8, January 1939, according to a footnote in the article]
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X-Ray vision was first used by Superman in Action Comics #11 (April 1939), where it was called "Superman's X-ray eyesight."
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[Superhuman Breath: Action Comics #20 (January 1940), according to a footnote in the article]
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Superman's power levels also grew throughout the 1940s; by 1947, he is able to use his super-speed to break the time barrier for the first time. By Superman (volume 1) #38 (January–February 1946), he is able to withstand the blast of an atomic bomb; Superman (volume 1) #43 (November–December 1946) shows Superman able to withstand the heat of the Earth's core.
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Heat vision was initially introduced as "the heat of his x-ray vision" (a byproduct of his existing x-ray vision powers) in Superman (vol. 1) #59 (July 1949); heat vision as a separate power first appeared in Action Comics #275 (April 1961).
1947, see above. I believe that's referencing the story in which he first finds out he's from Krypton in the comics. After encountering Kryptonite for the first time in the comics (which was years after it was introduced in the radio show), he travels through time to follow its origins and sees the origin story unfold before his eyes. (Readers were several years ahead of him in that regard.)1. When did Superman start travelling through time under his own power?
Anyway, heat vision or not, super strength and invulnerability to bullets alone would make a huge difference in a war.
1947, see above. I believe that's referencing the story in which he first finds out he's from Krypton in the comics. After encountering Kryptonite for the first time in the comics (which was years after it was introduced in the radio show), he travels through time to follow its origins and sees the origin story unfold before his eyes. (Readers were several years ahead of him in that regard.)
The Japanese had the Holy Grail and it was used to place a similar barrier over Japanese held territory. The spells went into effect at the same time. IIRC, Superman and several other heroes headed into Japanese territory right after Pearl Harbor and wound up being turned pro Axis by the spell. That was how they discovered what the Axis did. The Sphere of Influence, as it was call, expanded and contracted with Axis controlled territory. So by the war's end only the Japanese homeland was under the influence of the spell....it was Europe they couldn't reach.
Which wouldn't explain why superheroes didn't intervene in the fighting in Africa and the Pacific.
Marvel had a good amount of heroes beyond the Invaders. There was even a homefront group of heroes called the Liberty Legion. The Patriot, the Whizzer and Miss America were part of it. They also had Golden Age versions of the Vision and the Black Widow.It was later explained (somewhere) that Hitler was using the Spear of Destiny (aks the Lance of Longinus) to make some kind of barrier in Europe that kept superbeings out of there.
That's the DC explanation (because DC had a LOT more heroes around in the WWII era).
Marvel doesn't have this problem because they didn't have many WWII era characters aside from Cap and the Invaders.
There isn't much contrast, no, which probably stems from CA:TFA's quasi-sepia, faded look and a desire for visual continuity. And though Carter can play at being a femme fatale, as we saw in the first ep, that's definitely not her character, so it'd be silly to light her like that throughout. (Does all this sound like her to you) As for the noir angle, first, it's really hard to do noir in color (and even if one succeeds, the result is often very highly stylized), and second, the film noir style is rooted in cynicism and moral ambiguity - not exactly the thematic milieu of a show about an apparently squeaky-clean heroine in a world that, comic-book baddies aside, is far more good than bad.Overall, I really liked it - but oh my god, WHO THE F**K IS SHOOTING THESE SHOWS?!
First Agents of Shield looked awfully vanilla with some painful FX in its first year - now Agent Carter, a show set at the dawn of the pulp/film noir era and it looks like a soap opera?! WTF?! My brain cannot comprehend how other shows like Breaking Bad can have some jaw dropping visuals set in parking lots and residential homes, yet a show that features a secret spy office hidden in New York and a disused factory thats making super weapons looks like a daytime soap. Maybe its my TV, but everything looks flat with no contrast whatsoever - and that just robs the show of any extra jazz it should have, being about a femme fatale spy in the superhero world of the 1940s!
Now, I agree the show is a bit drab-looking, but that does fit NYC and its surroundings for a significant chunk of the year. AoS' visuals have also drawn some entirely fair criticism, and I agree there also to an extent, though one could argue that, as likeable as Coulson and Co. (and Carter, for that matter) are, they're not exactly very colorful or eccentric personalities, and the visuals properly reflect that.
That said, I'd be all for Carter spending a season investigating a threat in Hawaii next year...
And lemme tell ya, radio Superman could be quite callously lethal, killing hundreds or thousands of enemy troops in his climactic battles both during and after the war. He didn't routinely kill the bad guys (although the stories generally ended with the villains dying through misfortune or their own foolishness or at the hands of their victims or fellow hoodlums), but when it came to combat with whole armies, his rules of engagement became pretty warlike. Which I suppose is what you'd expect of a radio series made during wartime.
Fair points on noir and other era tropes - but it can still look nicer just with some simple colour correcting:
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The top image I swear is straight from the show, I didn't touch it. The bottom one I tweaked the curves and brightened the two actors ever so slightly - About a minute in photoshop.
See, it doesn't even need the tropes - just some colour and contrast in the image to make it interesting. I mean, just look at that photo! There's blues and greens all over that diner, and Hayley Atwell's stunning red lipstick, yet it's all muted. It looks like TNG did before the Blu Rays - but on purpose.
You should edit that article to include any unusual abilities that he displayed in the radio series...it has a section on "Film and Television", but I don't see one about the radio show.
Okay, it makes a bit more sense in that context, but the whole thing still has a 21st-century ambiance about it.The line "It's my choice" was a call-back to earlier when Peggy was consoling Steve over the loss of Bucky.
"Did you believe in your friend? Did you respect him? Then stop blaming yourself. Allow Barnes the dignity of his choice. He damn well must have thought you were worth it."
When I was reading the comics back in the 60s, his cape had a pouch where he kept his Clark Kent outfit-- I think under super compression so that he wouldn't look like he was on his way to the laundromat.The one distinctive thing I can think of was the one time it was mentioned that he carried his Clark Kent clothes in a bundle on his back under his cape, sort of like in a fanny pack or small backpack, I guess; presumably the purpose of the cape was to conceal the bundle.
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