What Is The Plot Of Superman Vs Ultraman Comic?

There’s something deliciously satisfying about comparing 'Superman' and 'Ultraman' because they’re like mirror images with completely different fingerprints. I first fell into this when I grabbed a used trade at a comic shop and saw the Crime Syndicate on the spine—instant obsession. At the most basic level, 'Superman' is the moral north star: Kal-El/Clark Kent is an immigrant raised with values, who uses near-godlike power to protect people and embody hope. His vulnerabilities and choices—like how he handles collateral damage—are central to his stories. By contrast, 'Ultraman' (usually the Earth-3/Crime Syndicate counterpart) is the moral inversion. He’s not just physically similar; he’s ethically opposite. Instead of restraint and compassion, you get domination, fear, and authoritarian rule. The comics lean into that thematic mirror: where 'Superman' explores responsibility and identity, 'Ultraman' explores corruption and what absolute power looks like when untethered from conscience. Visually and narratively you’ll also notice tonal differences—darker palettes, harsher actions, and a world shaped to justify tyranny. If you’re hunting reading recommendations, check out the Crime Syndicate arcs in 'JLA' and multiverse events like 'Crisis on Infinite Earths' to see this contrast play out in full.

I get a little giddy answering this kind of trivia—comic book crossovers and mirror-universe throwdowns are my comfort food. If you mean the first mainstream comic appearance where Superman squared off with an Ultraman-type character (the evil Superman counterpart from the Crime Syndicate), that goes back to 1964. The Crime Syndicate debuted in 'Justice League of America' #29, which is the earliest widely cited comic where Ultraman (the Earth-Three Superman analogue) shows up against the League and, by extension, conflicts with Superman-like heroes. Now, if you were asking about a specific single-issue titled exactly 'Superman vs. Ultraman,' there isn’t a famous, widely distributed mainstream comic that uses that exact title as a one-shot from DC or Tsuburaya Productions. A lot of fans mix up crossover-style phrasing with actual titles. For deeper digging, I usually check the Grand Comics Database, the DC Database, and archived cover galleries—those sources will show the original 1964 appearance and any later rematches. It’s a neat bit of comic-history trivia that always leads me down a rabbit hole of vintage panels and weird Silver Age logic.

There’s a particular issue in 'Superman vs. Ultraman' that I keep coming back to: the one where Ultraman’s origin and the ideological cost of his rule get laid bare. For me that feels like the hinge of the whole mini-series, not just because of the spectacle but because it forces Superman (and the reader) to confront what heroism actually costs when two worlds with similar powers choose totally different rules. What seals it as the most crucial is the combination of revelation and consequence. You get motive—why Ultraman became what he is—paired with the immediate fallout: civilians, institutions, and Superman’s own code are tested. The artwork in those pages usually leans into close-ups and quiet panels after loud fights, which I love because it lets you absorb the moral gravity instead of just thrashing through action beats. If you’re skimming for the one issue to study or reread, pick the one that reveals Ultraman’s backstory and ends with a major turning point. It’s the chapter that changes the stakes for every issue that follows and often flips how you view both characters afterward.

My take is that there isn’t one single, neat ending to a 'Superman vs. Ultraman' fight — it depends on which comic, continuity, or animated take you’re looking at. In a lot of mainstream DC stories where the Crime Syndicate’s Ultraman shows up (Earth-3 versions), the climax ends with Ultraman being stopped, defeated, or driven off by teamwork and strategy rather than a one-on-one slugfest. Those stories lean into Superman’s moral resilience: even when he’s outgunned, he finds a way to outthink his opposite. On the flip side, in some Elseworlds or alternate-universe tales the outcomes are grimmer — you occasionally get scenarios where Ultraman wins outright, conquers, or leaves Superman broken, because those stories are trying to explore what the world would look like if the moral anchor snapped. I like both flavors: the canonical beat where hope wins, and the darker takes that ask uncomfortable questions. If you want concrete comics to read for each feel, try 'Forever Evil' for the Syndicate collapse and some animated tie-ins like 'Justice League: Crisis on Two Earths' for a movie-style take.

I get asked this kind of thing a lot in my local comic shop circle, so here’s the friendly long take: There isn't really a single, long-running comic simply titled 'Superman vs. Ultraman' that stands on shelves as a straight collected edition. What people usually mean falls into two camps: the DC Comics Ultraman (the evil, Crime Syndicate counterpart to Superman), and the Japanese tokusatsu hero 'Ultraman'. If you mean the DC villain Ultraman, he turns up in big crossover storylines like 'Trinity War' and especially 'Forever Evil', and those story arcs are collected in trade paperbacks and hardcover collections. So while you won't find a one-shot trade called 'Superman vs. Ultraman' specifically, you will find Ultraman-containing stories collected in TPBs and omnibuses that include the Superman/Ultraman confrontations. I usually hunt these down by searching the story arc name plus "trade paperback" on sites like ComiXology, DC’s shop, or mygo-to indie shop — works every time.

I got into this one because I love mash-ups, and what drew me first was the art — sharp, dynamic, very manga-influenced. The comic 'Superman vs. Ultraman' was created by Eiichi Shimizu and Tomohiro Shimoguchi, the duo behind the popular 'Ultraman' manga. They handled the storytelling and visuals, so the book feels very much like an extension of their style, even as it crosses over with a classic DC icon. Reading it felt like getting two worlds in one package: Shimizu and Shimoguchi keep the Ultraman aesthetic intact while giving Superman moments the gravitas you'd expect from the Man of Steel. If you follow the 'Ultraman' series or the Netflix adaptation, you'll notice familiar character beats and design language, but with Superman thrown into the mix. I recommend checking out the creators' other work if you liked the tone here — their sense of motion and mechanical detail is addictive, and it makes the clash really sing for longtime fans and curious newcomers alike.

It's messy, and I kind of love that about DC: whether 'Superman vs. Ultraman' is "canon" depends on which version you're holding and which continuity you're using as your yardstick. Ultraman (the Crime Syndicate version from Earth-3) has been part of DC's official multiverse for decades, so stories that present him as the Earth-3 counterpart of Superman are absolutely canonical to that corner of the multiverse. But DC loves reboots and alternate-label stories — if a particular 'Superman vs. Ultraman' miniseries is released under an imprint like 'DC Black Label' or 'Tales from the Dark Multiverse', it's meant as an alternate take or mature reader one-shot, not necessarily part of Prime Earth's day-to-day continuity. My rule of thumb when I pick one up: check the credits page and any editorial blurb. If it ties into a main event like 'Forever Evil' or uses the ongoing numbering of the main Superman line, it’s closer to mainstream continuity; if it’s stamped as an Elseworlds/Black Label/one-off, treat it as a cool what-if rather than strict canon. Either way, it’s fun — I’ll read it and enjoy the ride.

I get a little giddy thinking about this, because the moment I picture 'Superman' facing off against 'Ultraman' my brain fills with big, colorful set pieces and a million what-ifs. From a practical standpoint, a live-action cinematic clash would be tricky but not impossible. Legally you’d need Tsuburaya (who control 'Ultraman') and Warner Bros./DC to agree on terms, creative control, and money — and those talks can drag. Tonally, the two icons come from very different traditions: Western superhero comics versus Japanese tokusatsu and anime sensibilities. That means filmmakers would need a clever bridge, something like a multiverse or an Elseworlds-style story that honors both fanbases. If I had to guess where this lands first, I’d bet on animation or a cross-studio streaming co-production. Animated features and anime co-productions are lower-risk, can lean into both aesthetics, and have a proven track record for crossovers. Plus, streaming platforms love event content. It might not happen tomorrow, but I wouldn’t rule it out — especially if fans keep clamoring and both sides see a marketing win.