In comic book circles, Dan Jurgens needs no introduction. It's inevitable the first line of his obituary will be "the man who killed Superman," as he was the writer/artist of the famous SUPERMAN #75. His association with Superman as a regular writer/artist began in 1989, and as it stands, he's almost certainly written more Superman stories than any other creator. While the Superman artist with the most stories to their name is Curt Swan, Dan's body of work pretty handily should put him in 2nd or 3rd place there.
This week is the 35th anniversary of a DC crossover event called ARMAGEDDON 2001. Dan provided the art for the two bookend issues, the first of which established the premise: Ten years in the future - in 2001 - one hero would betray and kill all the others. The identity of that hero was never known, as they then assumed the name Monarch and became an authoritarian leader. By the year 2030, Matthew Ryder has had enough of raising his family in Monarch's joyless dystopia and manages to become a test subject in a time travel experiment that transforms him into the time traveling Waverider.
Determined to stop Monarch before he comes to power, Waverider travels back to 1991 and uses his powers to read the possible futures of the major DC heroes, each encounter being depicted in one of that summer's Annuals. Of course, this is ultimately a device for the creators to explore a bunch of "What If" stories with their characters.
Dan's contribution as a writer was with the very first issue after the bookend - SUPERMAN ANNUAL #3. With pencils by Dusty Abel and inks by Terry Austin, John Beatty, Dick Giordano, and Dennis Janke, Dan brings us a story about a 2001 where Superman has lost almost everyone who mattered to him - including Lois Lane and his coworkers at the Daily Planet - when Intergang nuked Metropolis. He's been on an obsessive anti-nuke crusade ever since, and he crosses a line that results in the loss of innocent lives. Thus, the President drafts the one man who might be able to take Superman down - Batman.
To mark this memorable story's 35th anniversary, I reached out to Dan Jurgens for a chat about crafting alternate futures, killing characters, Evil Superman stories, and writing one of the most memorable Superman vs Batman fights.
Armageddon 2001 was the first - but not the last - time you did the pencils for a major DC event. Did it feel like a big deal joining a relatively small club that counted George Perez and John Byrne as two of its very few members? How did you end up landing the assignment?
By that point, I had, of course, been working on ADVENTURES OF SUPERMAN as writer/artist and drawing GREEN ARROW.
I left GA in mid-1990 and was fielding offers. Right around that time Dick Giordano called me up and said they were planning an event that they were hoping I’d be able to draw. He said, “Don’t book anything else!” Before long, I was on the phone with Mike Carlin, Archie Goodwin and Denny O’Neil talking about the story. I was a bit hesitant to take something on that I wasn’t going to write, as well as draw, but when it became clear that Archie would write Book One and Denny would write Book Two, I simply had to do it. One of the great things about working in comics is getting the chance to work with people whose work you enjoy and respect. Archie and Denny were at the top of the list for that.
So, yes, I was definitely on board from the start. And, once Archie’s script came in, I was really thrilled. It was a great story and from a technical standpoint, no one wrote an easier to interpret and clean, visual script than Archie.
I love Monarch's armor. Did you get to design him and Waverider? If so what kind of parameters were you given to work with?
Yes, I designed Monarch’s armor as well.
Archie had asked for something dour in terms of color as well as making sure that it would cover his entire body. That, of course, was to keep his identity secret.
As for Waverider, Archie, Mike, Denny and I had a conversation where we came to the general idea of him being a time traveling Silver Surfer type. Since the Monarch was going to have a larger, heavier appearance, we wanted someone lithe. The timestream trailing color effect was my own idea, kind of based on Star Trek’s Enterprise when it would go to warp. At the time, I thought, “People will realize this signifier will indicate time travel.” I like to think that it worked.
Did you have any involvement in the plotting or the scripting of the ARMAGEDDON bookend issues?
Not with Book One and only a bit with Book Two. By the time that rolled around we had enough conversations that there was a small bit of input. As much as anything, it also came up when it was decided to change the ending. By then we were into the question of how to do it and do it easily, since I was already well into drawing the story.
At the time, what did you think of the plan to turn "a major DC hero" into a major villain?
I totally supported the idea. We have to be able to surprise readers from time to time and something like that works. Frankly, I think it would have worked better with Captain Atom because he had the power level to fit the idea of it all. On top of that, it would have been easier to keep him as a villain over the long haul because he didn’t have the connections to other characters, like Hawk did with Dove, for example.
And that always falls into the category of whether or not later writers will stick with it. Too often, someone else will come along with the sole desire of changing the last thing in print because Hawk, Captain Atom, Popsicle Man or whomever, has been their favorite since age seven and, “How DARE those creators mess with that?!”
I love that this was a crossover that justified a lot of "What if" stories. Once you knew what the crossover premise was, were you determined to write one of the Superman Annuals?
If you go back to the first question where I talked about wanting to write most of what I drew at that point, I was told right from the start that I’d be able to write one of the Annuals. So that made it a bit more enticing to get on board.
And I had hoped to draw it as well, but there was only so much time in the day. And as it was, that’s when I was working crazy hours anyway!
One thing that puts ARMAGEDDON 2001 near the top of my list of crossover events is that its structure doesn't force the tie-ins to be held hostage by certain plot points. Like ZERO HOUR, the event mostly acts as a cool writing prompt for the participating teams to run with. So with the marching orders being "show us where your character is 10 years from now," where did your brainstorming process start?
So, stepping back on this a bit, the first big decision was to set this up in such a way that it didn’t follow the pattern of a monthly book with a lot of different monthlies crossing into it. There was a very deliberate move to step outside all of that on behalf of both retailers and readers, who were a bit tapped out by that process.
It also made the project more enticing to writers of the connected books and stories because it didn’t interrupt the flow of where they were in their own arcs.
In terms of the creative process, it was really the thought of saying, “Show us the future with something fun.” In other words, it as part of the exercise to step outside of where the character might logically go. So, a story idea or whacky new costume might be more likely to get approved than if it were part of the, “This WILL be THE FUTURE!” type of approach.
Did you give any consideration to telling the most plausible version of Superman's future, since at that point in comics, the character's existed in a perpetual present, where it seemed unlikely the storytelling would ever advance to their middle aged years? Or was your interest always in telling a future that you'd never want to experience with Superman? Were there any alternate pitches you toyed with before arriving where you did?
The ideas I had really swept into the one that saw print quite fast. I didn’t pitch anything radically different. It was more along the lines of a dialogue with Mike Carlin where we bounced various aspects of the overall concept back and forth.
And we did want to step outside the continuity of the ongoing books at the time— to give it a bit of a different flavor.
Initially I wanted to talk to you about this because I remembered this as one of the first "Evil Superman" stories before that trope started being beaten to death over the last 10-15 years. And the unexpected thing to me when I reread it was that... I saw a lot more of "real Clark" in this authoritarian-leaning Superman than we've seen in stories like INJUSTICE.
Can you talk about how you approached keeping some familiar aspects of the character even as he's taking actions that make the federal government and even Batman feel like he's stepped over the line? Were there any ideas you considered and then discarded because it would have made him TOO evil?
The balance was to keep Superman “in character” will also putting him on edge.
Evil Superman for the sake of being evil doesn’t interest me because it’s too much of a detour. But keeping Clark more grounded and real makes it more of a logical— and not so distant— jump.
At what point in the development process did you realize that Batman had to be the one to take on Superman in this story?
Batman was involved with the story idea right from the start. Some of the elements and ideas actually came to me while doing the DARK KNIGHT OVER METROPOLIS story a few years earlier.
That often happens to me while drawing a story. Basic ideas can perk around in my head while I’m drawing a story, well after I’ve written it. I’ll be drawing page 10 (or whatever) and cooking on the next chapter, which I would have had no idea of beforehand.
The best example of this is Hank Henshaw/Cyborg Superman, who I always so as a one-shot character. That changed once I started drawing that exact same story.
Of course, with DARK KNIGHT OVER METROPOLIS, you're referencing Superman giving Batman the kryptonite ring and telling him that if he ever goes bad, he wants the means to stop him in the hands of a man he'd trust with his life. I can see how once that Chekov's Gun exists, you'd find it an irresistible hook to play out somehow.
Was the idea to homage the Batman/Superman battle from THE DARK KNIGHT RETURNS simultaneous with that? It certainly was the most famous fight between those two.
Yes, definitely. I’d also add that a lot of creators within the Superman team had conflicting feelings about that fight because Superman was made to look like a government stooge of Ronald Reagan’s.
We didn’t see him that way at all. He and Batman could disagree and be in conflict… and we recognized that Batman was supposed to be the coolest character in that particular story… but Superman coming off as a stooge might have been the wrong way to go.
But… that having been said… once the Kryptonite ring of Luthor’s fell into Batman’s possession, it was too cool NOT to use.
I remember reading this issue at 11 years old and noting the contrast with SUPERMAN IV. In that movie, Superman addresses the United Nations, tells the world he's taking away their nukes, and everyone cheers. Here, you've got a Superman on an extreme anti-nuke crusade and while it seems he still has a lot of public support, we see that the President considers him a threat to national security, which is something we didn't see happen in SUPERMAN IV. Was that movie on your mind at all as you wrote the issue?
Yes, it was.
While I admired aspects of the movie and didn’t care for others, I don’t think we should be naive about what would happen if anyone ever showed up and said, “I’m taking away the world’s weapons. Especially those of the most powerful.”
I don’t believe the current president would react well to such a move, do you?
Certainly not him or ANY other prior U.S President, that’s for sure!
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