This character, faced with the daily difficulties that he cannot solve and which frustrate him, adopts as an escape valve the tactic of imagining that he is a superhero. The jokes corresponding to this volume, traced with rotring lines on sheets of folio paper and with an extension of up to four vignettes, have a simple and expressive line drawing, and present -despite the limitations of the format and the fact that they maintain little connection or continuity between them- effect gags on Superman, rather "domestic" mute jokes, which have little to do with the character later developed in the Superlópez comics of Ediciones B. Recurring villains include the evil professor "Escariano Avieso"; "Lady Araña" (“Lady Spider”); the gangster "Al Trapone" (a reference to Al Capone; he is accompanied by goons like "Carasucia", "Caracortada", "Carapincho", gun-wielding "Pistolet", etc.); and the mob boss "Refuller D'Abastos". In Issue No. 2 and 3 (“El Supergrupo”), Superlópez served as a member of a group of superheroes, all of which were Jan's creations. These included "El Mago" ("The Wizard", a parody of Dr. Strange); "Capitán Hispania" ("Captain Spain", a parody of Captain America); "Latas" ("Tin-guy", a parody of Iron Man); "Bruto" ("The Brute", a parody of The Thing); and "la Chica Increíble" ("Incredible Girl", a parody of the token generic superheroine). These spent more time fighting one another over the leadership of the Supergrupo than fighting evil (a parody or reference from the internecine strife that is part of Spain's history). They also made a short appearance in issue 6 where instead of going after the outlawed Superlopez, they argue then fight each other. The Supergroup come back in book 63, where a scientist is altering reality. In book 69, the Supergrupo meet Los Ligiones Justicieros, DC's JLA, featuring parodies of Superman, Batman, Wonder Woman, Green Lantern and Aquaman. Superlópez began his career as a half-page comic strip without text then whole page strips with text where things for López normally ended up badly (reprinted in issue 13, The Genesis of Superlópez), before expanding into full albums which were later put together into annuals holding a number of issues, with adventures involving supervillains and criminal organizations, later evolving into longer, more complex stories concerning social topics affecting contemporary Spain (drug dealing and youth, political issues, pollution and environmental threats, etc.).