I'd really like to see Glanzman recognized more as one if the true pioneers of autobiographical comics.

If you get the chance to read Radioactive Man they are pretty great satire of various comic book tropes through the years.  

The U.S.S. Stevens stories were the only comic book feature my dad made any effort to follow when I was a kid on those rare occasions that a DC war title found its way into my stash. He had served on a vessel much like the Stevens during the war and he said Glanzman really captured the look and feel of those days. Many years later I encountered Glanzman and told him that, which pleased him but didn't surprise him. Many other fans of my age had told him much the same thing.

Cei-U!
And, Slam, "naval-gazing?" Really?

Was it a typo or did he do it on purpose?

I’ll never tell.

I read Superman: The Man of Steel vo. 2 & 3 TPBs, reprinting Superman (vol. 2) #1-6, Adventures of Superman #424-429, and Action Comics #584-589. I read some of the Superman and Action Comics issues back when they originally came out, and 1 or 2 more recently. For all except maybe one issue of Adventures, though, this is my first time reading those.

I may end up commenting on specific issues in more detail in Shaxper's post-Crisis thread, although I don't want to derail it too much referencing issues he posted about years ago.
 
It's interesting experience, because some of the Byrne issues are familiar, but the Wolfman/Ordway Adventures is most a new world to me. Even moreso as I've never heard of some characters/groups like The Circle. I tend to like the Byrne stories more, although I admire what Wolfman was going for. There's a bit more focus on real human dynamics and stories. The story in Adventures #429, when Clark learns about Cat Grant's out-of-wedlock child and tries to confront the baby daddy is interesting both in how non-judgmental Clark (and by extension Wolfman) is toward Cat, but also how it reflects upon judgments in society. I just wish the Adventures stories were more dynamic. Ordway is an artist that I like in theory, but in practice, his work often seems workmanlike but not excited. Also, some of the Qurac story hit a wrong note for me. It felt like there was some Orientalism there. Also, if Qurac is a stand-in, at least partially, for Iran, I feel like there's an oversimplification which clashes with Wolfman's attempts to be more nuanced in other ways. And yes, Perry White's son is super-annoying.

I remember the stories from #1 (Metallo), #2 (Luthor investigating the Clark/Supes connection) and #4 (Bloodsport) well from back in the day. One of Byrne's flaws in my opinion is trying to explain things that don't necessarily need a new explanation. Like making Superman's strength especially tied to willpower, like he's a Green Lantern. But I do think the effort on explanation in Superman #2 makes for a clever story - how a man as smart and with the resources of Lex Luthor doesn't figure out that Clark is Superman.

A couple of my favorite stories in these two TPBs were Byrne stories I'd never read before. One is the Host two-parter from Superman #5 and #6. The other is the Demon team-up from Action Comics #587. My opinion on the Action team-ups is mixed. They seem to de-emphasize the involvement of supporting cast, and Byrne really work in the personalities enough of his guest stars to add to their mythos. For example, I'm a fan of this Green Lantern Corps era, but the GLC guest appearance in #589 is lacking the insight or interesting interplay of personalities that I get out of reading Englehart's writing on GLC. But that's a flaw that plagues a lot of team-up books. I like the New Teen Titans story that launched the run, although like Shax (from his review thread), I found the portrayal of Dr. Gundersen and Superman's lecture for him cringey at times.

The Simpsons Treehouse of Horror Dead Man’s Jest
Various creators, 2008

Well, this is my last trip to Bart’s Treehouse, at least for the time being, as I don’t have any of the other reprint books (and don’t think I’ll be getting the omnibuses anytime soon). But in many ways, this is one of the “best for last” situations. Among other things, this volume collects all of the stories in the tenth issue of the annual Bart Simpson’s Treehouse of Horror series, all of which were plotted or ‘conceived by’ famous rock/pop stars, to wit: Rob Zombie, Gene Simmons, Alice Cooper and - Pat Boone.

The Rob Zombie story, “House of a Thousand Donuts” was actually scripted and drawn by Ty Templeton, while the Alice Cooper story, “The Legend of Batterface” was scripted by Chris Yambar with art by Bill Morrison and Ken Wheaton. Yambar also scripted the Gene Simmons story, “Bart Simmons, God of Thunder” (art by Tone Rodriguez and Andrew Pepoy). That one has an amusing premise, i.e., that Simmons is actually Bart’s real father, the result of a hook-up with Marge after after a Kiss concert:

Otherwise, all of the guest ‘writers’ are characters in their stories to some extent or another, so, for example, Rob Zombie appears as a hitch-hiker in a few panels, while Pat Boone comes in to save the day (or rather, night) by exorcising some demons:

My favorites in this book, though, are all from the eleventh issue of Treehouse of Horror, though. They include “Squish Thing” written by Len Wein and drawn by Berni Wrightson...

...a set of interlocking stories under the overall heading “Two Tickets to Heck,” written by Chris Bonham and Steve Ringgenberg, which are homages to the various EC titles of the 1950s, and they include sequences drawn by Angelo Torres, Mark Schultz and John Severin...

...and finally, “The Sub-basement of Dracula,” written by Marv Wolfman and with art by Gene Colan:

Dominique Laveau, Voodoo Child: Requiem
written by Selwyn Seyfu Hinds, art by Denys Cowan and John Floyd, 2012

I may have left Bart’s Treehouse, but I’m continuing my spooky season reading and this one has been sitting on my shelf for a few years now (another one of those books I picked up for real cheap somewhere). The basic story is set in New Orleans, and initially takes place a few months after Hurricane Katrina devastates the city. The titular Dominique Laveau just finds out that she is in fact a direct descendant of Marie Laveau, the famed 19th century voodoo practitioner (an actual historical figure). In this, though, she and her progeny are voodoo queens who govern a court of witches, houngans and supernatural creatures that keep the peace in the city. And now it’s apparently Dominique’s turn to don that mantle, although there are those who would rather see her dead.
There are many elements here that I like: the supernatural aspects with voodoo and the associated loa like Baron Samedi, Papa Legba and Damballah, and vampires, werewolves, etc. as well as the historical aspects, with flashbacks to various points in the 19th century. The attempt to tie in the events of Katrina and comment on the tragic way that the hurricane and its aftermath played out is also quite laudable. And the art is quite lovely (I generally like Cowan’s work):

However, the story is a bit choppy – by that I mean there are odd transitions in which you’re really not sure what just happened, and generally there are several points where key events seem to take place off panel and then the various characters later have to explain it., Also, I get the impression that this was probably supposed to be a much longer story, because the story the conclusion seems quite rushed. Overall, I wanted to like this more than I did, as it left me a bit unsatisfied.