![]() He’s not afraid to let them show, and Superman adapts to his pages beautifully as a result. You’ll find plenty of Wayne Boring too. Allred’s influences are happily evident on the page. And yet, if you look (and you don’t have to look too hard), you’ll find it’s a world that’s only too familiar to the Superman faithful. That’s precisely the case with Allred’s The Superman/Madman Hullabaloo! Here, for the brief matter of three issues, the Man of Steel was decidedly Allred’s own, left to make heads or tails inside the trappings of Snap City. Frank can only truly thrive in the worlds his creator provides. ![]() As such, he requires the playful instincts of the artist’s musical mind. ![]() Madman is exclusively an Allred innovation. Once removed from Allred’s brushes and pens, the innovative spark behind Frank Einstein’s hip and crazy disposition begins to dwindle. ![]() That notion is what sets The World’s Greatest Superhero apart from Michael Allred’s Madman. So long as the core concepts remain - he must be able to fly, he has to have at least one errant strand of hair dangling over his forehead, and you best make sure he stands for Truth and Justice - the character unquestionably remains Superman. Art by Michael Allred/DC Comics/Dark Horse Comicsīy Jarrod Jones. One of the defining traits of Superman is that he cannot be confined by any one medium, house style, or editorial mandate. ![]() Cover to ‘The Superman/Madman Hullabaloo!’. ![]()
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