Back Issue Box: Justice League Unlimited #7

With regular super-books either cancelled or on hiatus as we await the coming of Bendis, I have been dipping into the back issues for comics to cover. As usual, I try to tap into some zeitgeist when I review older stories. And there has been a confluence of events that made me revisit Justice League Unlimited #7.

For one, it was Jack Kirby's 100th year birthday this year, resulting in a ton of Kirby stuff hitting the market. Whether it was the Allred's Bug mini, the Kamandi Challenge, or the ongoing and critically acclaimed Mr. Miracle by Tom King and Mitch Gerads, there is more Kirby specific books on the rack now than ever.

Then the news that a New Gods movie was going to go into production with Ava DuVernay behind the director's chair broke.

And then, Supermates Chris and Cindy Franklin started up the JLU cast looking at the Justice League animated show. Find it here: http://fireandwaterpodcast.com/show/jlucast/

With all that happening, it seemed like this issue with Supergirl embroiled in Fourth World war while learning a lesson about family seemed due for a thorough review. There is a lot of action and a lot of emotional heft to this story told in an all ages book. So sit back and enjoy.

Review: Action Comics #35

 

Superman Doomed is over! Or is it ...

Action Comics #35 came out this week, labeled as a Superman Doomed Aftermath and is such and up and down issue that I feel completely torn about the story it tells. Settle in. This is a long review.

Greg Pak has been a welcome change to the Superman creative teams and his earliest issues with artist Aaron Kuder simply crackled. Back then it felt like Pak walked on to Action, removed all the gunk and tarnish that had been heaped on Superman since the inception of the New 52, and put this glowing polished character back on a pedestal. He got Superman. Here was a Superman, remembering lessons from Pa, battling to save all life, and enjoying his pursuit of truth, justice, and the American Way.

And Pak also got points from me for bringing back Lana Lang as a strong, independent, highly intelligent character. Lana was inspired by Clark to go out, explore the world, and do good as best she could ... an everyday hero electrical engineer.

Then Doomed happened and suddenly the Super-books entered the maelstrom of Doomed. Suddenly the unique feeling of the title sort of slipped away. With the crossover finished, I thought we would get back to Action. And in some ways we did.

We get a great Supergirl. We get a fantastic Lois. We even get some good Superman. On top of that, Pak begins excising some of the metastases of Lobdell's run. Hurrah.

We also get a bitter, disillusioned Lana. And a snarky Batman. And some bad Superman too. All of these feel like steps backwards. 

The art is split by Scot Kolins and Vicente Cifuentes. Kolins art here looks much more fine and sleek than I am used to seeing from him recently. And Cifuentes has an Eddy Barrows feel to him. So the book looks beautiful.

The book starts with a bearded Clark, sitting in his apartment in the dark, typing away at a piece called 'Who needs Superman, anyway?'

You can tell the tone of the issue just from this. Clark, bearded as if in mourning, wallowing in the darkness, steeped in self-pity and hatred.

So Pak throws us a curveball. After months of Superman fighting endlessly, tirelessly we see him suddenly beaten down. And this after saving the universe!

We skip back in the recent past. Superman, battered, bearded, returns from deep space where he (as Super-Brainiac-Doom) threw Brainiac into a black hole. It has taken some time to fly back to an Earth that he is unsure even survived. 

As he enters the atmosphere, a WayneTech satellite blasts him with Kryptonite energy. 

Finally, falling to the planet, he is met by our first bright spot of the book. Supergirl!

She streaks up to him, carries him to the ground and comforts him. And she sounds downright heroic. Yes, 13 thousand died. But billions ... heck the universe ... was saved. She flies him around the planet, showing that everything is basically intact.

But there is bad news, some of which was welcomed by me as it cleans things up a bit.

The phantom zone projector, an overused device in recent storylines, imploded during the action. It took a chunk of the Fortress with it including the intergalactic zoo, Non, Mongul, and Xa-Du. It also got Kandor. And it got Shay Veritas.

So let's go down the list.

Kandor going missing seems premature as we hadn't really seen much of it outside of Morrison's run. That said, Lobdell had the Kandorians awaken from their suspended animation. (Remember that plot point ... never addressed in Doomed??) Maybe Pak just wanted to remove that remnant of Lobdell completely.

Xa-Du had escaped in Doomed (remember that dropped plot point?). So don't know why he went back to the Zone (although Supergirl says he is 'missing'). Mongul and Non getting trapped isn't a big deal.

But ... wasn't Wonder Woman IN the zone? Weren't Batman, Steel, and Lana IN the Fortress? How did they escape.

And ... this is my big gripe ... isn't Shay Veritas stuck in The Block, in the center of the Earth? Her presence in the Fortress was just a hologram ... right? So how did she get grabbed.

I liked Veritas and thought she was growing a bit as a character. Sad to see her go and hope it isn't for too long.

Less than 100% in power given how much it took to get home, Clark decides to investigate the aftermath of the Doomsday/Brainiac attack. He reboots the Fortress AI, knowing that will 'heal' the place and decides to see if any danger still lingers. He tells Kara to meet him back at the Fortress in 40 days (a very biblical number).

And he decides Smallville, the first city to go comatose, is a good place to start his investigation.

One thing I have enjoyed about Pak's run is his revisiting a key moment in Clark's childhood. When Clark's heat vision first fired, Pa actually ran to him, hug him, love him. He didn't run in fear. We have seen Pak revisit this moment a few times, again here.

The bottom line is Pa thought Clark's presence was a gift. Not a curse.

It is a lesson I thought Clark had learned.

Just when sweet nostalgia is about to overwhelm Clark, he runs into Lana. Initially it seems like a nice reunion. But then Lana drops this bomb.

She is upset at Clark for not being able to save her parents, one of the 13 thousand who perished. He shouldn't have missed them in his efforts.

Lana seems downright bitter about the whole thing. How could Superman not save her family?

It seems so odd given everything we have learned about this Lana. She is the one who has traveled the world, into the stars, trying to save people. She has used Clark as a role model to reach out herself. It just seems beneath her to blame him. Maybe it is transference since she herself wasn't home to save them?

And it comes on the heels of her telling Clark to kill Brainiac last issue.

Where did the Lana from the early Pak issues go?

Picking up on the vibes from the Doomed issues, we learn that Lana and John Henry Irons are now romantically involved. And they are in Smallville helping the community pick up the pieces.

Suddenly, Clark doesn't feel needed in Smallville. Other heroes are here. So he leaves.

Then he goes visit Batman.

And Bruce is completely a jerk. He K-scanned Superman before entering the world to make sure there was no Doomsday spores. And Bruce feels that the world (and it is implied by the stern look in the second panel that he also) blames Superman for the badness that happened in the world.

Why?

Why does Bruce and the world feel that way?

Superman was almost a non-factor in Doomed, controlling the infection, leaving the planet, attacking Brainiac's ship when out of control. And ... let's not forget ... SUPERMAN SAVED THE DAY!

Bruce was right there! In Doomed he talked about being inspired by Superman! He was the one who knew Superman was the only one who could save the day! Why the reversal?

Ugh!

At last ... AT LAST ... there is a voice of reason.

Clark actually posts his 'Who needs Superman' article on his blog and Lois comes to confront him.

And this is pure Lois. I love that she is the only one who has the nerve to tell Clark that his beard is ridiculous (everyone else compliments it).

And she tells Clark flat out he is wrong about Superman. That Clark doesn't understand Superman. And that if Clark is going to 'click-bait' then Lois is going to battle him. She calls it a war.

"I feel like I've lost and found my best friend in the same instant." Great line.

Of course, the memory of Clark's secret identity is gone, another erasure from Doomed. 

And then we read Lois' response. Yes, she could easily point out that other super-heroes ... inspired by Superman ... have picked up the slack while he was gone. (She includes Supergirl! With a nice shot of Kara saving a child!)

But really she wants Superman to come back and see how humanity has pulled together.

This reminds me ... and should remind Clark ... that his feelings, his ethics, his need to help people were lessons learned from his Earth father, from his human roots. Superman inspires humanity. But it is humanity (like Pa) that inspired him to be a hero.

I am thrilled to see Lois back in a Superman comics acting like Lois, without psionics, kicking butt. And it is a great response. Hey Superman, how about shaking off the ennui, self-pity, and emotional doldrums and be a hero?

We don't see Clark's response to Lois' words because instead we see Lana's response.

And frankly, her response sounds completely out of character from everything we have seen from Lana since her return to the book.

"And if you keep saving us, we're going to get weak."

Does that sound like the woman in the sinking oil tanker who ran into the flooded engine room? Does it sound like the woman who cobbled together an electricity gun to fight subterranean monsters? Does it sound like someone who took off into the stars? Has she acted like someone who passively waits to be saved? Who would tell Clark to stop being heroic?

I can only hope that this is a play off of her first lines here. Maybe this is self-loathing transferred to Superman. We'll see. Because this doesn't sound at all like the Lana I have loved this last year.

We end with a zombie-like cliffhanger. 

This was really an up and down issue.

We have a number of Doomed elements cleared from the decks, some in odd ways.

I love Kara, Lois, and Superman.

And I don't love Lana and Superman.

Overall grade: B-

Review: Adventures Of Superman #6

Adventures of Superman #6 came out last week and was another great issue in this 'out of continuity' series. The format forces a 'one and done' style of stories which is refreshing in this 'stretch an idea out for trade' style of the current market. The creative teams are fantastic and this issue continues that trend with writer J.T.  Krul and artist Marcus To.

But for me, the main draw to this book has been the more classic take on Superman that has dominated this series. This is a red trunked Superman espousing the more classic ethics and outlook of the Man of Steel. I haven't read any story in this series and felt the dim pessimism of The New 52. With no 'rules', I think these stories give us a look into the writer's mind ... who their ultimate Superman is.

And I think this story is no different. J.T. Krul gives us an early Superman story, before he has revealed himself to the world. He isn't sure who he is or what he should do. He is shown a couple of different paths he can follow. And then he decides for himself what type of man he is going to be. It is a classic take ... and wonderful.

The art is by Marcus To, someone whose art I have loved on Red Robin and the Huntress mini-series. His style suits this story perfectly. I wonder why he doesn't have a monthly gig somewhere.

As I said, this is an early Superman adventure. The public hasn't seen him even if he is active in a 'guardian angel' sort of way. The issue opens with him repelling an intergalactic warship from entering Earth's atmosphere.

He heads to the Fortress where he has a talk with Jor-El. This is a sort of Russell Crowe Jor-El I assume, a computer program imbued with Jor-El's thought patterns and able to respond to Superman's questions.

And this Jor-El is a bit haughty. He doesn't think Kal should stay on Earth. Earth isn't his home. The people of Earth aren't his people. Jor-El sent him to Earth to make Kal strong and leave Earth.

This isn't the Marlon Brando 'you can inspire them' speech. This is straight up 'you were meant for bigger things'. And it isn't what I am used to hearing from Jor-El. Interesting.

It is enough to make Superman question himself. Can he save mankind from themselves? He only wants to help.

And then we hear the crux of the story. Pa Kent told him that doing the right thing isn't always easy. So we get to hear the difference in the two fathers in his life.

I thought this panel was wonderful showing the two worlds Superman lives in at this point, the clean white pure Fortress (read Kryptonian) world, and the dingy brown troubled world of Earth. But Superman's pose shows he wants to look over us and help. Great stuff.

Then Kal hears from another 'ghost' from Krypton ... General Zod. Zod talks about his imprisonment in the Phantom Zone at the hands of Jor-El. Here Zod sounds almost like a freedom fighter. He thought the Science Council had a strangle hold on Krypton and he wanted to free everyone. Of course, villains think they are the good guys so who knows the truth.

But what Zod does do is again show Jor-El in the same haughty light. He acted as judge,jury, and executioner in the Zod case.

It has been a long time since I felt sympathetic for Zod. But Krul pulls it off, making me rethink Zod's crimes and realizing that an eternity in the Zone is cruel and unusual.

Moreover, Zod asks Kal a question. Why didn't Jor-El warn everyone that the planet was doomed ... even if the Science Council shot him down?

It turns out Jor-El kept the information hidden from the populace so that he could work on saving Kal. If he told everyone, there would be panic. Jor-El might be arrested. He needed to save Kal.

On paper it sounds good, a loving father saving his son. But the bigger picture is that he could have used his information to save more people. His pride, his dogged need to save his son and not others' sons and daughters, made him turn his back on his own people.

In older stories, it made it sound like Jor-El already had the rocket and didn't have much time to do a lot. But this view is new and interesting.

Now the warship from the opening scene was a vanguard for Mongul. And Mongul decides that squaring off against Superman could be fun. He shows up and starts tearing through the military, forcing Superman to reveal himself for the first time.

Imagine the shock to General Lane to have suddenly two immensely powerful aliens brawling on his turf. I love the wry ending line in this panel.

Mongul assumes that Superman rules Earth with his power. During the brawl, Superman realizes he can't defeat Mongul on his own so he allows himself  and Mongul to be struck with a nuclear missile. It wipes the two of them out sending them plummeting to Earth unconscious.

I have said I am sick of the military and Superman fighting. Krul at least has Superman leave rather than engage with the troops.

But it is such a great classic Superman moment. He states he doesn't want to fight the army. But he won't let them kill Mongul either. He gets labeled a Boy Scout by Lane. But it doesn't matter. Superman won't change his morals. He won't take part in this so simply grabs Mongul and leaves.

And then we begin to see just how little of Jor-El there is in this Superman.

He disparages Mongul's life mission of conquering everything. You can't conquer everything.

Superman isn't that big a fool. And that sounds like a rebuke of this Jor-El's mission for him.

And then, again moving farther away from Jor-El (much to Zod's surprise), Superman doesn't condemn Mongul to the Phantom Zone. He doesn't 'kill' him. Instead he calls on Green Lantern (who he hasn't officially met yet) to pick up Mongul and imprison him.

What do you call him? A friend.

Now that is a very classic take on Superman. He is a friend. He is here to help.

And then, my absolute favorite panels from the book.

Superman doesn't need to leave Earth to find out who he is.

He is someone who knows right from wrong and he can help ...right here on Earth. He knows who he is ... he's Clark Kent!

I love the coy pride in Pa's response.

It isn't that hard to realize is that this is who Superman is. Who Superman should be.

That would have been a fine ending to this story, but Krul and To give us a little dessert. They show us Clark heading to the Planet as a new reporter and meeting Lois Lane.

If there is ever a Lois Lane book or special, I want Marcus To to draw it.

This is just a wonderful story reaffirming the idea that Superman is more Clark than Kal. That he is someone who wants to help as many people as possible. That is the inspiring Superman I want to read.

So why can't the DC powers-that-be read this series and realize that it is this sort of Superman that most creators (and I think fans) want.

This series and Smallville are the best Superman books out there right now. Both out of continuity.

Overall grade: A

Bullet Review: Batman Superman #2

I don't think I'll be reviewing Batman/Superman every month but last week's second issue really was something special enough to warrant some coverage here.

I didn't cover the first issue because I thought the story was a little convoluted. Even though I knew from solicits that a trip to Earth 2 was going to happen to the young versions of Prime Earth's heroes, it was a bit hard to grasp that at the end. Certainly the early part of that issue when a young Clark talks to a young Bruce was great. But overall I was hoping for a little more story-wise in the premiere.

One thing that did impress me in the first issue, and definitely in this issue, is Jae Lee's art. From panel construction that reminded me of JH Williams III to a feathery pencil style in bright pencils to a murky feel in
darker scenes, his art just absolutely sparkled. And that certainly is true here as well.

One thing I like about Lee's art here is that there is a dream-like quality to the art, whether it be idyllic fantasy or nightmare, his art seems almost surreal. Even hair looks like ink spreading out in water, ethereal, eerie. And in this universe bending story where a chaos demon (I assume) is pulling the strings, it works.

But the other thing that stands out in this issue is Greg Pak's story. Now on Earth 2, we get to see just how brash and untrained the Earth 1 Batman and Superman are. And we also get to see what accomplished and heroic the E2 Batman and Superman are. Remember, on Earth 2, these heroes were beloved ... the Wonders ... trusted. We haven't seen any of that in Prime Earth stories ... at least not in Superman.

So when we see the Earth 1 Batman tussling with his the Earth Catwoman, it is interesting to here her call their emotionally charged battles 'the good old days'. I also love how Lee never lets us get a good look at Catoman. She is always in the shadows. That is how a thief should act. Their is something very cinematic about this scene.

And that feeling carries over to the Smallville scenes where the Earth 1 Superman has throttled the Earth 2 Batman. The sepia tones of the background always work in Smallville, giving an old photograph feeling to the setting.

But I love our Superman's response to seeing Pa again. Taken aback by seeing him at first, but then ashamed at Pa's scolding and fear, you see just what an influence the Kents are ... or rather what they should have been on Earth 1, if they were still alive to help Clark be ... well ... Clark.

When the two Batmans meet they of course spar to a stalemate (although I would think the more seasoned Earth 2 Batman might get the better of the younger version).

And Catwoman just watching along, commenting on how idiotic this all is, is perfect. Again, her shadowy appearance works, letting my imagination fill in the details while stressing her stealth.

I also love how she allowed herself to be tied up by the Earth 1 Batman to be 'interrogated' although she was manipulating him all along. Reminded me of the first Black Widow scene in the Avengers movie.

And when the Earth 2 Superman comes and is ready to brawl with his counterpart, they are stopped before any foolishness can commence by one of the most powerful women in the DCU, Ma Kent. She can tell that a Clark this quick to fight, this angry can't have the Kents in his life.

I have heard how Lee's use of silhouettes has been criticized. But for me it works. I can tell Superman is crying in that first panel. I can tell how much love there is in that hug in the second issue. But by letting me fill in some of the details myself, it is powerful. I might have one tear rolling down the cheek. Someone else might have him flushed without tears. Someone else might have him bawling. We can tell the emotion here and we all get to fill in the gaps.

I love that Pak stresses just how important the Kents are to the Earth 2 Superman. The New 52 Superman at times has not acted in ways I think Martha would be proud of.

Heading to Metropolis, the elder Superman introduces the younger to his wife Lois Lane.

I think it is natural for a young Superman to be floored by the appearance of Wonder Woman. But more importantly, I love how the older Superman tells Lois that he has only ever had eyes for her. As someone who misses the Lois and Clark couple, as someone who misses a steafast, heroic, mature Superman ... this scene was incredible. It really shines a spotlight on the differences.

But again, Lee just shines here. That is one dramatic entrance for Diana. And the paint brushed clouds makes her majestic, feel classic.

Good story. Great art. I enjoyed this issue a lot more than the first. And look forward to the rest of this arc.

Overall grade: A

Review: Action Comics #17 Back-Up Story

As much as I have enjoyed Grant Morrison's wild ride on Action Comics, I have equally loved the Sholly Fisch back-up stories. They really have been wonderful stories which have bolstered the main plotline by Morrison.

In Action Comics #17, the Fisch story continues that trend. One of the key moments in Vyndktvx multi-time attack is that Smallville Senior Prom night, the evening the Kents are killed in a car crash. We haven't seen much of the Kents in the main book but Fisch has done a great job filling in the back story of Jonathan and Martha. This story takes place on that fateful Prom night and includes a healthy dollop of Pa Kent wisdom. I will again say that one of the things ... maybe the main thing ... that separates Clark from Super-Doomsday is the loving upbringing of the Kents and their outlook on humanity.

Chris Sprouse does the art here and his style suits the content beautifully.

Since this is a 'multi-time' storyline, the first several pages show a left hand column of that fateful Smallville night and a right hand column showing events from the future. And Fisch does a good job linking the Smallville words with the 'current' action.

So here the 'pretty exciting' outside of Smallville is contrasted to the Super-Doomsday assault.

I like that despite his powers, Clark is still somewhat afraid of what life will be like away from the farm. And good old steady Pa is there to talk about the uncertainty of the future and how you need to be strong.

And that is so wonderfully juxtaposed with the bedside death scene, something which we know is just hours away.

The wonky timelines have somehow aligned such that suddenly the present Superman is there that night and granted one last moment with his father.

Okay, it is a bit of a stretch. But given that Pa's death is part of Vyndktvyx' isomorphic magic plot, I suppose this is some anchor of the 'attack on multiple timelines'. And if I am able to swallow a Kryptonian attacked by a 5th dimensional sorceror then I guess I can swallow that this moment can happen.

Fisch does such a great job here and Sprouse's art works so wonderfully. Look at how happy Clark is for having this new chance to talk to his dad.

But the Pa is all about business. He only wants to know two things. Is Clark happy and is he helping people. It is so perfect, such a fantastic essence of Clark's upbringing. And Clark is able to say yes to both questions.  Can he say that in the Lobdell book? I don't think so!

But those questions are quintessential Kent!

And Pa is even able to glean from Clark's reaction that he isn't alive in Clark's presence. Clark has to realize that he is hours away from death.

As I said, this is a brief story with just a big scoopful of Pa wisdom. So we get a tagline of sorts - 'because Kents aren't quitters.' Clark talks about how that has helped him throughout the years. Heck, that determination is probably helping Clark in that fight with Super-Doomsday.

Maybe this concentrated small town horse sense is too thick for some. It does have a sweetness like molasses. But I love these sorts of stories. It is the man that makes him super. And that comes from the Kents and their love.

And the timelines re-align, the brief reunion is forgotten when things right themselves, and we get that bittersweet moment with Ma talking about remembering this night.

Clark will remember this, but not from the joyous Prom memories. We know that the car crash will happen shortly.

I wonder if this story resonated with me because it reminded me of Action Comics #507, 'The Miraculous Version of Jonathan Kent', a 2 issue story from my youth where Pa (through a wish) comes back to life for a brief period of time. He is able to see the hero Clark has become and enjoy a reunion. But when the time of the wish expires, the clock resets and no one remembers the event (other than Pa in paradise).

So another wonderful Sholly Fisch story building up that foundation of Clark's past and helping readers understand why Superman is the fighter he is today. I will miss these back-up features when the new team takes over.

I wonder just how these stories will be collected in trade. Their own trade? Tacked on at the end of the trade?

Overall grade: A

Review: Action Comics #5 Kents Back Up

Action Comics #5 included a back-up feature written by Sholly Fisch with art by ChrisCross. Fisch is the official back-up writer and seems charged with the task of filling in the back story of some of the characters being re-introduced in the Superman mythos. Last month's character was Steel. This month we get a look at the Kents.

Fisch does a good job of showing us just how much Martha and Jonathan love each other and want children. Much like the main issue including helicopters investigating the Kal-El crash site immediately, Fisch modernizes the Kent's plight while reinforcing why they would be the perfect couple to raise Superman.

We last saw ChrisCross on the Kelly Sue DeConnick Supergirl issues. The art in those issues was occasionally extreme with the characters wearing wild expressions. Cross scales things back here, telling a very human story with slight touches that adds to the story.

This isn't a snapshot in time but rather an overview of years in Jon and Martha's married life.

It starts off with their wedding where the young couple, clearly smitten with each other, immediately talk about filling their house with children. There is some not so subtle irony in the 'babies falling from the sky' comment, but it works in this innocent early time.

I don't know if the Kent's wedding has ever been covered anywhere before.

But that early optimism is eroded by each failed pregnancy test. I like Jonathan's quiet strength as he reassures Martha that she will be a wonderful mother and that they will continue to try.

Unfortunately, medicine can't fix every problem. He has low motility. She has endometriosis. Hormone injections and in vitro methods can only go so far. This method, despite its costly nature, is unsuccessful.

This is perhaps my favorite scene of the short story.

Despondent after science has failed them, the Kents turn to their minister for some solace. And he is able to provide them some peace by saying there is a plan. They are good people and they need to have faith that something wonderful will happen.

This last panel showing a happy and suddenly reinvigorated Jon and Martha was wonderful. And I can't remember the last time someone of the cloth was shown in such a positive manner. It really worked for me.

With that, the Kents turn to their next option, adoption.

But that isn't much easier than hormone shots. It is a process, sometimes arduous and also costly. There is a sort of 'here we go again' look on the Kents' faces as they realize their dream is about to put on hold again.

But nothing will stop Jonathan. He'll mortgage the farm to get the fund money for the adoption process.

I love how he says he'll open a general store if he has to, an obvious reference to that part of the Kent's Silver Age history. But it is a wonderful scene showing just how much these two love each other, support each other, and are willing to risk it all for each other. Lovely.

Now, we know that Morrison is going for a Golden Age feel here. So will Martha bring Kal to the local orphanage as a 'found' baby only to adopt later (as in the earliest Action Comics origins?) or will she spirit him away to the Kent farm and come up with another explanation for him? I don't know if the former will hold up to the light of current times. But we'll see.

Still, much like the Steel story, Fisch does a great job letting us learn a lot about these characters in a short page count. And Cross' art amplifies the words.

Overall grade: A

Review: Superman Secret Origin #1

Superman Secret Origin #1 was released last week and began a six issue miniseries which will provide a reorganization of Superman's history as we move forward into the 21st century.

John Byrne's Man of Steel felt more like a reboot, removing key elements of Superman's mythos such as Supergirl, multi-colored Kryptonite, Superboy, etc. Mark Waid's Birthright brought back some of these more historical elements to Superman's origin but Infinite Crisis then blurred that story as well. Superman's origin was known in broad strokes but many details now seemed missing.

Here comes Geoff Johns and Gary Frank to the rescue. This first issue reads less like a reboot and more like a re-imagination of the Silver Age. It is a love letter to the Superman origins that I grew up with, bringing back small flourishes that I haven't seen in a while.

If any creative team is going to be able to pull this off, it is Johns and Frank. We have already seen them bring back several Silver Age elements into Superman's history, updated for current sensibilities. In the past couple of years in Action Comics we have seen the reintroduction of the classic Legion, including Superman being a member. We have seen a rethinking of Brainiac. And, of course, we have seen Argo, Kandor, Zor-El, and Alura all brought back in updated fashions, their Silver Age tarnish scrubbed away into something classic but modern.

So why shouldn't DC let Johns take a look back at the last 70 years of Superman stories and let him glean those things that work, reweaving the tapestry of Superman's mythos.

The book opens up with a pre-teen Clark looking to the sun, to the sky, as if he is looking at his destiny. But he is alone, surrounded only by a large field. He looks alone in this shot. And the truth is as the last Kryptonian he is alone.

The panel is a bit of a set-up as Clark is actually soaking in some rays as he plays football with his schoolyard pals. The game goes slightly awry as Clark's emerging powers lead to a Pete Ross broken arm.

And just like that we see that Clark's powers have manifested themselves early in his life, a difference from Byrne's vision.

The book's opening line is 'why are you here' and it is a pertinent thing for Clark to be thinking. Why is he here? What should he do? This opening scene with the backyard football nudged me to remember Pa Kent's line from Superman:The Movie ... 'you aren't here to score touchdowns'. There has to be a bigger purpose than that.

I do like the fact that this first issue starts in Smallville and not on the dying planet Krypton. The true origin of Superman begins in Smallville. Sure, his Kryptonian genetics give him his powers. But it's the Kents that made him Superman and not ... let's say ... Ultraman or Red Son.

We see the fallout of Pete's broken arm in school the next day when we are introduced to one of the most important people in Clark's early life, Lana Lang. Frank really draws her practically oozing 'girl next door' cuteness.

Clark has already revealed his secret strength to Lana. Here he tells her how he has manifested XRay vision ... how sickening it was to hear Pete's bone snap.

It turns out that Clark has already rescued Lana once from a wheat thresher, as seen in this flashback. I love this panel showing a super-confident boy of steel standing amidst the broken blades and shouting about his strength. Johns does a good job of showing the dichotomy of Clark's powers ... how they can be exhilirating and frightening at the same time ... how it tough to be both special and different.

In this scene, Lana kisses Clark, igniting his heat vision for the first time and setting off the school fire alarms. This hearkens back to an early episode of Smallville where Clark's heat vision is triggered by his lust for a sexy substitute teacher.

After the events of the last 2 days, Pa realizes that it is time to come clean with Clark about how he arrived on Earth. He shows Clark the rocket he crashed in.

Clark's proximity triggers a recorded message from Jor-El, embedded in crystals within the ship. We get a very brief recap of Krypton's destruction and Jor-El's plans to save his son. The look of Krypton is clearly based on the Donner movie right down to the crystal technology.

Of course when faced with his alien origins, Clark appropriately snaps, lashing out at the rocket with fists and heat vision before running away.

In one of the most powerful moments in the book, Pa consoles Clark. Clark cries that he doesn't want to be different, how all he wants is to be Pa's son.

And Pa tells him the truth ... he is his son. This splash page is a nice foil to that opening one. Here there isn't bright sunshine. Here things are a little darker. But most importantly, here Clark is not alone. His father is there hugging him.

With a sudden emphasis on protecting others from Clark's expanding powers, Martha adds a crucial piece to the Clark persona ... his glasses.

Ma was able to fashion them out of some crystal shards from the ship. The crystals were able to block Clark's heat vision, effectively shielding the world should Clark's eyes light up suddenly. Once again, this is a reimagination of the Silver Age glasses composition (those made from pieces of the rocket's window). These glasses are horribly over-sized and were very reminiscent of the glasses worn by Christopher Reeve in the movies.

On top of the glasses, Clark doesn't want to break any more of his friend's bones, so he begins bowing out of football games. He uses the most anemic excuses ... pollen, new clothes, ear infections. It is the beginning of the mild-mannered Clark persona.

Earlier in the book we are introduced to Lex Luthor, showing that he most likely grew up in an abusive household. We even saw that he had a younger sister ... could it be Lena!

Clark meets Lex at the town fair where Luthor has set up a booth about extra-terrestrials. I love that Lex disparages Dr. Erdel's theories on aliens. Erdel, of course, brought J'onn J'onzz to Earth.

Lex has found a chunk of Green Kryptonite in the woods of Smallville and has brought it to the fair. The stone incapacitates Clark. As Clark faints, the jar the Kryptonite is in falls, shattering the glass and cutting Lex. I wonder if that is the beginning of a Kent/Luthor rivalry/feud.

Luthor already reads as arrogant and creepy.

A sudden tornado whips up forcing Clark to again rush to Lana's rescue. First off, his superhearing picks up her cries for help. Next, he is able to fly for the first time, soaring into the storm and taking Lana to safety.

Lana's thank you kiss does set off Clark's heat vision again proving Ma's theories on the crystal glasses properties.

That rescue triggers Clark's desire to use his abilites to help people. If he has been given these powers, he should use them for good.

It is a wonderfully warm scene as Clark overjoyed by his good deed announces he is going to keep doing it! It shows the type of boy the Kent's have raised.

Ma realizes that more acts of daring will mean a tattered wardrobe. Clark will need a 'work suit'. While she was examining the rocket, Ma received some images of Kryptonian culture. It is a nice moment for Ma who wants to help Clark be understand and be proud of his heritage. She has an idea to make Clark a Kryptonian outfit out of the blankets he was sent to Earth in. Clark will need to use his heat vision as scissors to help Ma craft the suit.

Again, I felt a wave of nostalgia as I read this origin of Superman's costume. This was the origin I grew up with, right down to Clark needing to cut the cloth.

And so we see our first look at Superboy!

As an old timer, I have to admit I really loved this book. It is as if Geoff Johns decided to grab some of the best parts of Superman's Silver Age origins and dust them off, polish them, and represent them in a sparkly new package. Yes, there isn't much completely new here. But all these small ideas need to be refit into current continuity and the modern world. Glasses made from part of the ship? A uniform from Kal-El's swaddling blankets?? It was such a treat for me.

I think the best thing that Johns does here is bring a sense of nostalgia for the established fan but not make it overwhelmingly saccharin. It doesn't read as a moldy retread of old material but rather as a recreation of a great story, the rougher patches smoothed over.

As usual, Gary Frank's art is perfect.

Overall grade: A