In the wake of Crisis on Infinite Earths, Byrne does his job admirably, pulling double-duty as writer and penciler as he builds a brand new world around Superman, blending the worlds of Clark Kent and Kal-El in kicking off a new mythology for the Last Son of Krypton.PHOTOS: ‘Man of Steel’ Premiere: Superman Takes Off in New York City
Readers today look back at Man of Steel as not only one of the essential Superman stories but also one of the best retellings of Kal-El’s origins. Maybe some of the elements are a bit shaky or loose-the series’ ending feels a little at odds with what’s come before-but Byrne’s edifice is largely firm. Steel beams hold each floor as Byrne builds, making sure levels are unique while simultaneously supporting what’s constructed atop it. We get a skyscraper, then, jutting into the heavens above Metropolis. Each issue is a snapshot of a building block, allowing Byrne to string several classic elements of Superman’s history together without overwhelming the reader. Soak in the story elements, be engaged with the details. It’s easy to read these issues side-by-side, but Byrne wants the reader to take each issue at a time. Earth" dichotomy at play with Superman and, instead of creating conflict between the two, removes one potential point of tension to creating a relaxing conclusion. Krypton is gone, and though he may be the last surviving member of his race, he owes much more to Earth than his home planet.
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The series ends with Clark absorbing centuries of Kryptonian information.before promptly sidelining it. He wrestles with his own dawning affections for Lois, briefly commenting on his greatest rival: Superman! A humorous scene sees Lois comment on Clark’s light bodybuilding weights (a ruse to explain why he’s so fit), with the ruffled Superman mentally slapping himself in the forehead when he realizes his super strength kept him from properly determining weight sizes. Superman” becomes apparent through the six issues, whether it’s Clark coming to terms with his abilities and origin or adapting to the world around him. “True identity” becomes an engaging trope for Byrne to fall back on throughout the series. The deeper he falls into his obsession, the less physically imposing and more insane he appears. Not only are his truer, more vile machinations exposed, so is his physical vulnerability. As Luthor loses more and more of his dignity with each passing attempt at defeating Superman, he also loses his hair. I mean, sure, Luthor isn’t in jail for long, but still.he’s exposed for the corrupt braggart he is.īyrne doesn’t verbalize it, but it’s humorous when you realize that Luthor fails to hide behind all his industrial power when all Clark Kent needs is a pair of glasses to disguise his own true identity. I was actually astonished at how quickly Luthor’s villainy was made known to the general public, expecting some sort of Kingpin-esque criminal whose wealth and influence kept him out of prison. Byrne doesn’t craft a villain who capably hides beneath his wealthy veneer for long. The farm boy turned superhero, who wishes nothing but to help people, comes up against the incredibly rich Luthor, whose philanthropic facade is uncovered surprisingly early. Luthor becomes a fascinating juxtaposition to Superman, especially as Byrne relates the start of their rivalry. Under Byrne’s direction, Luthor becomes one of the most powerful businessmen in the country-Byrne himself has admitted to basing the character off Donald Trump-providing a much more subtle societal context for Superman to slip into. Byrne reframed Luthor, who had been portrayed as a kooky scientist or supervillain in the past, bent on destroying Superman for one slight or another.