Review: Superman The Stranger #3

Superman The Stranger #3 came out last week continuing this Black Label look at a populist Superman in the 1930s. As I have said in prior reviews, this really is a throwback to the earliest Siegel/Shuster stories where Superman is battling social problems and not alien overlords. 

Writer/artist Wes Craig continues to weave a fascinating story in this new universe. There is no Kent wisdom here. Smallville didn't happen. Instead Superman's world view is formed by his life as an orphan and his life experience, dealing with corruption everywhere and seeing how it has hurt the 'common man'. That makes his actions in this book more understandable as he lashes out against the system.

But I also like that this is a Superman who is still learning, still unsure of himself, still trying to figure out what he should be doing. And there is no better ally to help him figure that out than Lois Lane. We met the plucky reporter earlier in the book but she shines here and deserves the cover spot. She also isn't the powerful investigative reporter we have in the main universe. She is also still learning, navigating. So seeing these two together, stronger together, and trying to help. It works well.

Lastly, Luthor looms large as the villain here but one of my thoughts from last issue bears fruit here. Luthor is hearing voices who are guiding him down the dark path he is on. Chilling.

Craig's art is pitch perfect for the series. It is dark and moody, Film Noir-ish, and also 'art deco' leaning into the aesthetic and making the story resonate.

The story is compelling, making this one of my favorite books on the stands these days. On to details.

While in the orphanage, Clark and his unnamed red-headed friend are put to work in a sewing sweatshop in the Saturn building.

A red-headed friend. Perhaps this Clark met Jimmy early on.

But the logo of the Saturn building is there, the S-shield. Interesting. It is not a family crest. This Clark doesn't even know his origin.

In Absolute Superman, the S-Shield is the mark of a lower caste. 

Here it is the logo of some job he had slaving over bad equipment with little recompense or care.

Again, interesting how two new Superman takes have the shield representing the downtrodden and underserved and not the mark of his lineage.

This is a true sweatshop. The owners bar the door so the workers can't leave.

A fire breaks out. At this point Clark can't be harmed but isn't super-strong. He can't open the doors. He has to watch as everyone else, including his friend, die in the fire.

Certainly Craig has to be riffing on the Triangle Shirtwaist factory fire tragedy from early 20th century America. 

This is such a powerful moment. You can see how this would impact Superman's outlook. Bosses locking the most needy people in an unsafe work environment to maximize their profit. 

It makes the use of that logo incredibly meaningful. He is honoring his co-workers. He is constantly reminded of who he is fighting for and who he is fighting against.

Pretty cool. 

Back in the present, Superman goes after a corrupt Alderman, stringing the guy upside down on a lamppost with incriminating evidence. 

It is almost Batman-like. That shows how different this Superman is from our current, present-day hero. I doubt Superman would go after a politician like this and certainly wouldn't intimidate and force confessions this way.

But I love the passion. 

At the Planet, Lois is mourning the passing of her friend, the union boss decapitated by Lex last issue.

Superman arrives.

His actions have been portrayed in the papers as a Super-Menace preying on city leaders, so no surprise she is initially scared.

It was funny to see the paper's headlines. It felt a little like the Daily Bugle pouncing on Spider-Man. But it also shows how unscrupulous people can use the media to bend a story.

There is almost immediate chemistry between Lois and Superman. Yes, politically they are aligned in trying to uncover all the seedy doings of the rich, holding the people down. But there is also some romantic intensity almost, their passions so in synch.

I love how Craig uses the entire page with narrow horizontal shots, Superman getting closer and closet to Lois each successive panel. It adds to that sort of heat.

But I also love how Superman is here because he needs help. He wants to bring justice to the city but he doesn't know where to attack. He asks Lois to point him in the right direction. 

Really love this art.

While she is feisty and plucky, even she is afraid of who is behind the curtain of all the corruption. 

She can't even say the name.

That sort of fear in Lois! Portrayed so wel in the art.

It reminds me of Ben Urich not even saying 'Wilson Fisk' in Daredevil Born Again. Or people in Harry Potter's world not saying Voldemort. 

She doesn't say it but we know it is Lex.

Last issue, Luthor was shown in the art with his head bisected by panel gutters making me wonder if he was possessed or if a second entity was in him. Turns out this time I was right. He is hearing voices telling him to stay on the plan.

My guess? Phantom Zone villains telepathically in his mind.

I also have to love Lex saying he won't allow lawlessness in his town when his cronies talk about Superman causing trouble.

This cabal are the biggest criminals in the city. But Lex won't allow lawlessness! 

Love the irony.

But we end with a cliffhanger.

The voices are telling Lex to complete his radioactive missile program. They are saying to raze the planet.

And one of the radioactive materials he has in his possession is a green glowing rock. Cue dramatic music.

Okay, my guess is that some nuclear conflagration is thought to be strong enough to rip a hole in the Phantom Zone allowing the villains to escape. So they are pushing Lex that way. We shall see.

But this whole book, from plot to art, sings. Yes, there is a political message here, a particular view, but this isn't a message forced into a story. This is a story with a message. 

I hope everyone is reading this book.

Overall grade: A