Walk into any theater today and you’re bombarded with CGI sludge that costs three hundred million dollars but somehow feels weightless. It's frustrating. But if you go back—way back—to August 1942, you’ll find a nine-minute masterpiece called Superman Terror on the Midway that arguably looks better than half the stuff on Disney+. Seriously. Produced by Fleischer Studios (though technically under the Famous Studios banner by the time of release), this was the ninth entry in the original theatrical series. It wasn't just a cartoon. It was a visual flex that redefined what animation could actually do.
Most people today know Superman as this god-like figure who punches planets. In 1942, he was different. He was a circus-goer. He was a guy in a suit trying to enjoy a night out with Lois Lane before a giant gorilla decided to wreck the festivities.
The Night the Circus Went Wrong
The plot is deceptively simple, which is why it works. We’re at a traveling circus. The atmosphere is thick. You can almost smell the popcorn and the sawdust through the screen. Suddenly, a massive gorilla named Gigantic—creative name, right?—breaks out of its cage. Panic ensues. Lois Lane, being the most fearless (and arguably reckless) journalist in fictional history, decides to get the scoop rather than running for her life.
Then things get heavy.
A group of lions gets loose. This isn't the cuddly Lion King vibe. These are shadows and teeth. The animators used a technique called rotoscoping—tracing over live-action footage—to give the animals a terrifyingly realistic movement. When Clark Kent finally ditches the spectacles and steps into the fray, it’s not a clean, easy win. He’s wrestling beasts and bracing a collapsing circus tent. The stakes feel real because the environment feels heavy.
Why the Shadows Matter
If you look at the background art in Superman Terror on the Midway, you’ll notice it’s dark. Like, noir-film dark. This was a signature of the Fleischer style. They used a "setback" camera system and incredible airbrushing to create depth that didn't exist in other cartoons of the era. Compare this to the flat, bouncy look of early Looney Tunes or Mickey Mouse. Those were great for gags, but Fleischer wanted drama.
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They treated Superman like a movie star, not a doodle.
The lighting in the midway scenes uses high contrast to heighten the tension. When the lights go out and the only thing visible is the glow of the lion’s eyes or the silhouette of the gorilla against the tent canvas, it’s pure cinema. It’s "chiaroscuro," a fancy art term for light and dark, used to make a guy in blue tights look like a mythological hero. It’s honestly impressive that they pulled this off without computers.
The Budget That Broke the Bank
Back then, the average short cost maybe $10,000 to $15,000. Paramount Pictures gave the Fleischers a staggering $50,000 per episode for the first few. Even though the budget was trimmed as the series went on, Superman Terror on the Midway still looks like a million bucks. Every frame is hand-painted. Every movement is fluid.
- The Physics: Notice how the circus tent sags and ripples. That’s not easy to animate.
- The Fire: There’s a sequence with fire that looks better than most modern hand-drawn attempts.
- The Scale: The way the camera pans up to show the height of the tightrope wire makes your stomach drop.
People often forget that these were shown in movie theaters before features. You’d sit down to watch a newsreel about the war, see Superman save a circus, and then watch a noir thriller. The tone had to match. It had to be sophisticated.
A Turning Point for the Studio
This specific short actually marked a bit of a sad era for the creators. Max and Dave Fleischer, the brothers who started the studio, were basically forced out by Paramount during the production of the Superman series. The studio was renamed Famous Studios. You can see the shift starting here. While Superman Terror on the Midway is a peak for the series, it was also the beginning of the end for that specific level of artistic ambition.
Later shorts started to get a bit more... patriotic. Or propagandistic, depending on how you look at it. The war was in full swing. But "Terror on the Midway" remains relatively pure. It’s just a man, a girl, and a very angry ape.
What Most People Get Wrong About the 1940s Superman
There’s a common misconception that these old cartoons were "campy." They weren't. Not these ones. The 1960s Batman show was campy. The later Super Friends cartoons were definitely campy. But the 1940s shorts, and Superman Terror on the Midway in particular, were played completely straight.
Superman doesn't crack jokes. He doesn't have a sidekick. He’s a silent, brooding force of nature.
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When he catches a falling girder or holds back a lion, he’s straining. His muscles flex. He grunts. You feel the effort. Modern Superman often feels like he’s playing a video game with cheat codes enabled. The 1942 version feels like he’s actually working. That’s why the "terror" in the title isn't just hyperbole; for a kid in the 40s, this was a legit thriller.
The Lois Lane Problem
We have to talk about Lois. In this short, she’s basically a disaster magnet. However, it’s worth noting that she isn't just screaming. She’s actively trying to document the chaos. In the 1940s, having a female lead who was a career-driven professional—even one who got into too much trouble—was a big deal. She had agency. She had a job. She wasn't just waiting for Clark to buy her a ring. She wanted the front-page headline.
How to Watch It Today (And Why You Should)
Because these shorts are in the public domain, you can find them everywhere. YouTube, Internet Archive, cheap DVDs at the grocery store. But wait. Do yourself a favor and find a high-definition restoration.
The colors in the original Technicolor prints are vibrant. The reds of Superman’s cape pop against the muted grays of the city. Watching a grainy, 240p version on a random website does a disservice to the thousands of hours artists spent painting these cells.
If you’re a fan of Batman: The Animated Series from the 90s, you owe it to yourself to see this. Bruce Timm and Paul Dini have openly admitted that the "Dark Deco" look of Gotham City was almost entirely stolen (or "inspired by") these Fleischer Superman shorts. The heavy shadows, the retro-futuristic tech, the serious tone—it all started here.
Technical Achievements That Still Hold Up
- Rotoscoping: As mentioned, this gave the human and animal movements a weight that "squash and stretch" animation lacks.
- Atmospheric Perspective: The use of mist and smoke to create a sense of distance.
- Fluidity: The frame rate is remarkably high for the time, leading to zero "choppiness."
It’s crazy to think that this was made while World War II was raging. The animators were working under immense pressure, yet they produced art that hasn't aged a day in terms of visual impact.
Actionable Insights for Fans and Creators
If you're an artist, an animator, or just a film buff, there is a lot to learn from Superman Terror on the Midway.
First, focus on lighting. Don't just light a scene so the audience can see; light it to tell them how to feel. The shadows in the circus tent tell us more about the danger than the dialogue ever could.
Second, respect the stakes. Even if your hero is invincible, the world around them isn't. The tension in this short comes from the fire and the screaming crowds, not from the fear that Superman might get a scratch.
Third, look at the pacing. At nine minutes, there isn't a single wasted second. It starts with a hook, builds the tension, hits a climax, and gets out. It's a masterclass in short-form storytelling.
To truly appreciate this piece of history, don't just watch it as a "cartoon." Watch it as a film. Look at the "camera" angles. Look at how they use close-ups on the gorilla’s face to create empathy and then terror. It’s a sophisticated piece of media that proves Superman has always been at his best when he’s treated with a bit of gravity.
Go find a 4K restoration. Turn off the lights. Appreciate the hand-drawn chaos. You'll see exactly why this version of the Man of Steel is still the gold standard for many.