Review: Action Comics #977

Last week, I gushed ... maybe too much ... about how great Supergirl #8 was.

Settle in. I am about to gush about Action Comics #977.

I have been waiting for Superman to be back track in DC continuity. Yes, I loved Morrison's Action Comics run. Yes, I loved the early Pak/Kuder run in Action Comics. But otherwise, the years since the New 52 have been sort of a drag for Superman fans. It all seemed to reach a terrible critical mass of "Who is this character" in The Truth, when Superman was depowered, out of Metropolis, angry at Lois, riding a motorcycle, and kidnapping and pulverizing super-villains until they obeyed him. That isn't Superman.

It wasn't right.

Which is why I have been thrilled about #Rebirth, a movement which was based on bringing back classic interpretations of characters. The theme has been to move away from deconstruction of these characters and instead to focus on construction instead. Ollie is a socially relevant crusader. Wonder Woman is an ambassador of peace. Supergirl is a young hero on the journey. And Superman is with Lois, a reporter at the Daily Planet, and an inspiration.

That doesn't mean there aren't speedbumps. #Rebirth led to Superman Reborn which made two Superman timelines into one. But the pre-Flashpoint and the New 52 Kal's walked very different paths. The differences need to be reconciled. And while that can be done on a reader-to-reader basis (me figuring out what I want in and out), Action Comics #977 is a sort of primer. It sets the foundation of Superman's origin and beginnings. And that is a good place to start.

Writer Dan Jurgens and artist Ian Churchill do a wonderful job setting the stage, acknowledging the stories from the past, and moving us forward. And we get the beginning of a new villain as well.

I loved this book. And frankly, it was needed.

Review: Superman Secret Origin #6

After some delays, Superman Secret Origin #6 finally hit the stands last week.Written by Geoff Johns and drawn by Gary Frank, the mini-series solidifies the Superman origin by really looking back at his classic roots while merging it with some ideas we have seen in some of the other forms of media where Superman has appeared.

All along I have said that this read as a nostalgic love letter to the fans of the man of steel. It has been pitch perfect in it's portrayal of Superman. He has been a man of integrity, compassion, and strength. He always comes back to the fact that he is here to help and with that simple tenet he immediately becomes a role model for the weary people of Metropolis.

But more importantly, I think this issue resonated a bit more for me this simply because of what is happening with Superman elsewhere. This month I can read Superman talking to his supporting characters and fighting Metallo in the streets of Metropolis ... or I can read him walking through Detroit and playing pick-up basketball. For me it is sort of a no-brainer.

With Superman on the run from Luthor and the army, General Lane attempts to overrun the Daily Planet.

One theme that I liked here was the fear of Superman being an alien. Look at the fear ... the shock ... on Lois' and Perry's faces; as if Superman being a mutant-human is so much easier to accept. But here it is a jarring revelation, like a kick to the gut ... so wonderfully rendered by Gary Frank. Wide-eyed, the Planet's staff needs to wrap their collective heads around this revelation. Superman is still a relative unknown. Do his actions speak louder than his ancestry? Does this shake their trust in him?

This is a different sort of fear than the one seen in the New Krypton storyline; this one is more subtle.

Now one thing I don't necessarily like how Superman is fighting the US military in these last chapters. Even if these are Lane's men, trained to follow orders, and fearful of Superman, it is still hard for me to think of them as the 'villains' in this book.

That said, this splash page is lovely.

Luthor successfully resuscitates John Corben, creating Metallo. Fueled by Kryptonite, Metallo joins the fray. Trust me, he isn't happy and he begins thrashing Superman. Enraged and out of control, he lashes out against friend and foe alike.

So much of this story is Johns defining Superman's character and the reaction of the people of Metropolis. Despite facing one of the few people who can hurt him, despite Lois' pleas to leave and save himself, Superman stays ... fighting on ... never giving up. Metallo is threatening the people in the area and Superman can't leave them. In a nice visual cue, the real monster of this scene is literally unmasked. Who is more alien here? Who is the bigger threat? Superman or Metallo?

At least Superman has an understanding of what a soldier should be ... a protector. I think Superman realizes now that maybe he is, in a sense, a soldier. He is a protector of the people. And if he needs to put his life on the line to protect them, he will. Flown into the thin air of the upper atmosphere, Metallo falls unconscious.

Undeterred by the good Superman has done, General Lane continues to hound Superman. He orders his men to arrest both Superman and Lois.

Another recurring theme in this book has been Superman's ability to inspire, to raise the hopes of an entire city. As much as I don't necessarily like Superman fighting the army, I don't know if I like some ordinary folks rising up either. In particular, I don't think the soldier defending Superman in panel one deserves getting hit with a bottle in panel two.

But just when it looks like mob violence is going to erupt, here comes Superman again reinforcing his belief that we all need to help each other; we need to improve each others' lives.

It is a simple premise but it defuses the moment. Superman just seems to transcend all the politics, all the fear, all the anger in the people there.

And so we get to see the aftermath of this encounter.

In a spectacular homage to the Superman animated series as well as Superman:Man of Steel, Superman confronts Luthor outside his penthouse office. Luthor even tosses a statue through the window like in the Animated series premiere movie.

It is clear. Superman will be watching Luthor from now on.

And we see the beginnings of a romance, the fire of love just beginning to smolder.

I love Frank's Lois.

And we see that the fickle finger of Luthor isn't the supreme power it once was. People are starting to look to each other rather than looking to Lex. Gone is the bleating crowd begging for his love. That view from the balcony looks more like a view from a prison. Maybe some foreshadowing?

Instead, we see a new Metropolis, people are looking up. Even the angry elderly woman from earlier in the series is forgiving now. Everything has changed. Superman has inspired a city to reach higher.

I haven't hidden how much I love this mini-series. It is clear that Geoff Johns has a love of this character, an understanding of what Superman should be ... a bright light to guide people, to lead by example.

But for me the thing that impresses me the most about this mini-series is that despite re-telling a 70 year old story, it felt fresh. This isn't a radical new take on the Superman origin. This isn't John Byrne's new look and feel of Krypton, his more confident Clark. This isn't Mark Waid's Birthright Superman where Clark goes off to Africa to get in touch with life and Superman has a 'life detecting aura power'. There wasn't anything new here ... but it was all new too. Does that make sense? It felt almost like when an oil painting is restored, when a layer of wear is removed and the colors are bright once more; suddenly it looks like a new masterpiece.

I have talked about Johns' ability to update Silver Age concepts of the Superman mythos. But, as I have said before, I also like how Johns' seems to be able to take concepts from the Superman of film and television and fold those into the mix. Let's face it, there are some people out there whose only understanding of Superman is from the animated series or the Donner film. So why not add some of the best of that stuff here. What you get is the most inclusive origin story, but silky smooth.

In many ways I am sad that this series, despite all its delays, is over. As of now, there is no comic where Superman is in Metropolis, acting as Clark Kent, working for the Daily Planet, and fighting super-villains.

Overall grade (issue): B/B+
Overall grade (series): A

July 2010 Solicits

With Last Stand and War of the Supermen in the rearview mirror, the Superman titles in July look like they will be re-establishing the Man of Steel as the prominent character of the DCU.

Here is a link to all of the DC solicits for the month:
http://www.newsarama.com/comics/dc-july-2010-solicitations-100419.html

I looks like it is going to be an exciting time for Supergirl and Superman fans. Here are the Super-specific solicits.

SUPERGIRL #54
Written by STERLING GATES
Art by JAMAL IGLE & JON SIBAL
Cover by SHANE DAVIS
Sterling Gates and Jamal Igle continue their bold new direction for The Girl of Steel! When a vicious new threat arrives in Metropolis, it’s up to Supergirl to stop the monster. But, boy, is she in for a surprise when she finds out just who this thing is and where it’s from!

Given that this is the first month after the long New Krypton storyline, DC might feel that readers staying away from the super-titles might want to jump back on board. But can we really say that this is a "bold NEW direction" by Gates and Igle? This is their 20th issue! I might have said "bold direction" (which I agree with). It amazes me that it has been 20 issues! Time flies.

Anyways, the first thing that stuck out here is the cover by artist Shane Davis. I loved Davis' work on Superman/Batman as Final Crisis:Rage of the Red Lanterns. This is a great eye-grabbing cover. Three issues in a row now without Josh Middleton. My guess is he doesn't have cover duties anymore. This cover looks like a piece that DC may have had in storage somewhere and may not be specifically about this issue. So who will the new cover artist be? I wouldn't mind any of the artists we have seen on covers recently - Igle, Camp, Davis. I would love to see a David Finch cover.

And the solicit has Supergirl back on Earth and in Metropolis. No mention of Lana. And what of this monster? Any guesses on the who and where? Power Boy and Apokolips? Bizarro Supergirl from Kandor? Hmmm ...

SUPERMAN #701
Written by J. MICHAEL STRACZYNSKI
Art by EDDY BARROWS
Cover by JOHN CASSADAY

Michael Straczynski begins his highly anticipated run on SUPERMAN! After the devastating events of WAR OF THE SUPERMEN, how can Superman possibly continue his battle for Truth, Justice and the American Way? Find out here in “Grounded” part 1 and get in on the starting line of a modern-classic SUPERMAN story!

My guess is that DC is really doing everything in its powers to get some publicity for Superman now that he is back wearing the Big Red S and starring in his books again. They really have assembled some powerhouse creators.

We had heard about JMS and Eddy Barrows being on Action. Just recently DC announced superstar artist John Cassady being on covers. Wow! This cover is so strong. One, Superman is small on the cover, and given his powerful appearing stride showing that he feels the symbolism of the shield is more than the man. And within the big shield we see faces of people. That's what the S-shield stands for ... helping people. (I always worry I am overthinking these things.)

Of course, why would he be walking on the cover? The title of the story arc is 'grounded'. Maybe Superman loses his ability to fly and suddenly finds himself on the ground with everyone else. Maybe that gives him a new perspective. I am looking forward to this book immensely.

ACTION COMICS #891
Written by PAUL CORNELL
Art by PETE WOODS
Cover by DAVID FINCH

When Lex Luthor finally regained control of LexCorp, he thought he had everything he wanted. But in BLACKEST NIGHT, he briefly became an Orange Lantern and got a taste of true power. Now he’ll do anything – anything – to get that power back. Buckle in for a greatest hits tour of the DCU’s most wanted as Lex Luthor begins an epic quest for power, all brought to you by new ongoing writer Paul Cornell (Dr. Who, Captain Britain and MI-13) and artist Pete Woods (WORLD OF NEW KRYPTON), with covers by David Finch (BRIGHTEST DAY, Ultimatum)!

And here on Superman we get another great team of creators. First off, new DC star David Finch is on covers and here we see a great Luthor as Orange Lantern piece. Fantastic.

Pete Woods continues on a super-title and I have praised his work too many times to do it at length here. I am glad he is sticking around.

I didn't post about the sudden switch on writers here when it happened. Marc Guggenheim was announced as the new writer and sounded excited about it. Here is an interview Guggenheim did when announced: http://www.newsarama.com/comics/091214-marc-guggenheim-action-superman.html

But then Paul Cornell was announced because Guggenheim said (and I am paraphrasing here) that he couldn't do the story arc justice. As with Guggenheim, I have no prior experience with Cornell although everyone seems to rave about his work. Does anyone have a suggestion of something of Cornell's that I could pick up to sample?

The story itself sounds like it will be a blast. There is nothing like a Superman/Luthor slugfest ... and a super-powered Luthor is always a fun thing to see.

SUPERMAN SECRET ORIGIN #6
Written by GEOFF JOHNS
Art and cover by GARY FRANK
Variant cover by GARY FRANK

The reimagining of Superman's early days concludes as he faces his toughest foe yet – his childhood friend Lex Luthor! The victor will be Metropolis's hero. If you think you know how this plays out, then you underestimate how much Luthor wants that title…

And at last we get the end of Secret Origin. I'll be a bit sad to see Johns and Frank walk away from Superman completely. But this series has been great ... a nice amalgam of the many variations of Superman's origins.

It looks like it will be a bright new day for the Superman family this summer too!

Review: Superman Secret Origin #5

Superman Secret Origin #5 came out last week and continued to explore the early years of Superman in Metropolis.

It's hard to believe that there is only one issue left in this series. In some ways it has felt like Byrne's Man of Steel, snapshots of the formative moments of Superman's origins. In other ways, it has felt like 2 mini-series - the Smallville years and the Metropolis years. The last issues have read like a standard comic so some resolution should happen. That said, we all know how these stories end so it isn't like we need to see everything wrapped up in a bow.

Like prior issues, one of the things I have really liked here is the comparison of Superman and Luthor and their different leadership styles. How they shape the feel of the city ... inspire the citizens.

Unlike prior issues, this one adds some new elements to the Superman mythos rather than just re-imagining or re-inventing the Silver Age, streamlining some elements of Superman's origin into the current continuity and current storyline. Specifically, it was interesting to see General Lane added to the early years as an adversary for the Man of Steel.

The issue opens up with Superman helping out with a fire, saving some people trapped in the burning building.

But he is still new to the city and Metropolis is still under the thrall of Luthor and his ethics and morals. Look at how the people he rescued act. One guy doesn't trust him. One acknowledges the save. The last one is incredulous as to why Superman would save them ... as if there needs to be a reason or reward for doing the right thing. It is that sort of distrust or 'what's in it for me' attitude that Lex exudes.

And Superman is just the opposite.

The blaze was part of this Lex/Superman battle for the soul of the city. The fire was deliberately set at one of the Daily Planet's distribution centers. The Planet is later shown to be the only paper consistently showing Superman in a positive light.

The knowing glances between Superman, Lois, and Jimmy speaks volumes. Luthor had to be behind the fire. If he controls the media, he will control how Superman is perceived.

One thing I liked about this scene was Lois' flirting with Superman, coyly bringing up how Superman and her keep meeting. Funnier still is Jimmy jumping in and spoiling the moment.

The groundswell of support for Superman, as put forward by the Planet, bothers Luthor to no end.

He looks down from his penthouse and laments that the people of Metropolis are 'looking up into the sky'. It is such a small but powerful moment. Luthor looking down at the people, the size of ants. He doesn't want them to be inspired, to look up for hope ... that line works both literally (to see Superman) and metaphorically.

Luthor is perfectly portrayed here ... not outwardly evil wearing a purple jumpsuit and shooting laser guns. He is more slyly malevolent, eroding the hope of the city. Wonderful!

And Luthor knows how to play all the angles to get what he wants. He not only brings in the military to investigate Superman, he brings in General Lane. This way he can attack the Lois aspect of Superman's emergence as well.

What better way to bring General Lane into the fold than by playing up the alien/human relationship twist. This 'unnatural' relationship won't sit well with the spit-polished rigid military father. It is here where we see the seeds of hatred planted which bear the bitter fruit we currently see in Lane in the New Krypton continuity.

And is it me or did Gary Frank model General Lane after Lee Marvin.

John Corben is also re-introduced into the mythos, as the junior officer hand-picked by General Lane to court his daughter. At least we now know who the flower-sending John from the earlier issues is.

Not surprisingly he is a cad, physically throttling Lois when she rebuffs his advances. When it turns violent, Clark steps in and coolly defuses the situation with the old 'handshake test of strength'.

It is classic Clark. Look at the 'aw shucks' smile on his face as he silently humiliates Corben. What a clever way of maintaining the Smallville exterior while fighting for truth and justice.

Meanwhile, Luthor and Lane talk about how to defeat Superman if he becomes a national threat. It all revolves around Kryptonite.

In a twist of Superman's history, Luthor deduces that Kryptonite can hurt Superman the waste produced by experimenting on the Green K is what mutated Rudy Jones into the Parasite. And the Parasite in turn hurt Superman. Luthor sees causation.

For some reason, the Kryptonite basis of the Parasite's origin doesn't sit as well as me as other new imaginations in this series have. It feels more like a Smallville the show 'meteor freak' origin.

While the Parasite twist was the weakest part of the book for me, the next scene was the strongest.

Lois is so impressed with Clark's stare down of Corben that she invites him out to lunch. A lunch date! She can sense something deeper to Clark then his stumbling and bumbling ... something attractive.

But when she calls him on it, when she asks him who he 'really is', he slips into pure Clark and spills his milk all over her.

Ridiculous and retro as it may be, it shows how even early on Lois might fall for Clark. I thought this just worked.

While away, Clark senses a nearby fire and rushes to the scene to assist. What he finds is General Lane and the military waiting for him.

It hearkens back to a simpler time where Superman's main job was disaster assistance, not battling super-villains.

Lane starts interrogating Superman ... asking him about his alien roots, his purpose on Earth. Despite Superman saying he considers himself an American, Lane continues to push. It forces Superman to declare that he is no one's enemy and leave.

Unfortunately, that gives the military an excuse to attack Superman. Included in their forces is the Green K powered Metallo suit driven by John Corben.

I have read 'the first encounter with Kryptonite' story a couple of times, most recently in Superman Confidential. It is always great to see that astonished look on Superman's face when he is injured for the first time. Here the bullets still bounce off him, but they cause damage. We see the blood stains.

The last volley of bullets ricochet into the Kryptonite causing the Metallo suit to explode. Even injured, Superman's first thoughts are for Corben ... first apologizing for the accident, then imploring the troops to get a medic.

Superman then weakly flies off.

The news begins to trumpet Superman's 'attack on the military' and just like that it's all out war on Superman. The army is called in to shut down the Planet. Meanwhile, Lex claims he can save Corben with the Green K. And Superman ... he is hiding out in the sewers, healing.

The ending reminded me a bit of Batman vs the police in Batman: Year One. But it is such a downbeat ending. My hope was that this series would end with the city embracing Superman and his attitudes. It will be hard to get there in the 22 pages left. I hope we do get there.

For me, the strongest scenes in this issue were those with Lois. I think Johns just feels comfortable writing her and her banter with Clark. Those scenes just clicked.

I wish this series could go a full 12 issues and really flesh out the background. I'll be sad to see this end.

As usual, Gary Frank's art really sizzles.

Overall grade: B+/B

Review: Superman Secret Origin #4

I have gushed about Superman Secret Origin with each issue.

I am about to gush a bit about Superman Secret Origin #4. And when I gush I can be long-winded. Bear with me.

Did this series need to happen? Did we need a revamping of Superman's beginnings? Or did all of the people reading the Superman titles have a decent enough handle of things that they could cruise along?

With most everything about Byrne's Man of Steel retconned away, with Superman Birthright not cemented as dogma, I think something was needed to smooth over the rough spots. With Superman being the centerpiece of next summer's event, the timing was right for a place for new readers to refer.

Still, with DC being 'all Blackest Night all the time' right now, it feels like this series is flying under the radar. I wish that DC was marketing this series more because it is absolutely delightful. Johns and Frank are really meshing here and spinning an origin story that can appeal to the newer readers and the more seasoned fans alike.

This series is also making me a bit anxious for the 'Year Without Superman' to come to an end. I miss seeing the big red S.

Last issue with Superman revealing himself by rescuing Lois Lane. How would the downtrodden of Metropolis react? How would current city leader Lex Luthor respond?

Well, he starts by continuing the practice we heard he does daily. He comes out to the throngs of needy in front of his tower and randomly picks someone to help. As I said before, this reinforces wrong thinking in the populace. One, it makes it appear that good will and success is random and that hard work has nothing to do with it. Second, it makes Luthor into the savior of the common man.

What better way to convey that then this opening shot. Here is Luthor high above the crowd, arms spread in a messianic fashion. With the point of view coming from the crowd, you get the sense of how small you would feel in comparison to Lex, how far away he is from your troubles.


It turns out that the person picked from the crowd may not necessarily be random. Luthor has men tucked away who are electronically picking out people and feeding their info to Luthor's ear piece. When his men see that Rudy Jones is in the crowd and a worker at the hated Daily Planet, the choice is obvious.

What's more, Luthor isn't unflappable. The arrival of Superman has trumped the unveiling of his Metallo alloy as the top story in the area. Luthor can't believe a man can fly and so has his men scouring his labs to see if someone borrowed a rocket pack.

The dichotomy of the scene - all this malevolence behind the trappings of 'saving someone' - really let's the reader see just who the real Luthor is.


And when it turns out that no one borrowed a rocket pack, when there needs to be another answer to explain Superman, Luthor sends his men to the Planet to question Lois and Clark.

Of course, Lois is thrilled. She has wanted to talk to Luthor for some time. Regardless of the circumstances, she is going. Clark seems less thrilled.

Again, the art here works so well. Doesn't the absence of a background in this panel bolster that appearance of meekness in Clark. Doesn't he seem smaller?

The two head to Luthor's office and get led into this spacious office.

I know I tend to ruminate over art sometimes; I probably make assumptions about a writer or artist's reasoning behind a panel. But when I am affected by art, I feel that I need to express myself.

First off, look at the size of that picture of Luthor, a palpable object of his pride. If we say Clark is at least 6ft, that picture has to be 30ft tall. 30ft!

That is above a 15ft door! And we don't even see the ceiling!

Contrast that clean space to the grimy crowded streets of Metropolis. This is another way of showing just how disconnected Luthor is from the common man. It reminded me of Tyrell's office in Blade Runner ... someone set up as a god above the throngs of people.

This panel might be passed over quickly but it deserves some inspection.


Lois comes in filled with bile and ready to lay into Luthor with both barrels.

I love how quickly Lex disarms Lois by telling her that her father says hi. You have to respect Luthor for knowing everyone's Achilles' heel. Look at Lois' face! She is shocked and confused. Almost stammering. All that confidence she brought in is gone. And look at Clark's response; this is the first time he has seen Lois like this. He is just as shocked.

Meanwhile, Rudy Jones is undergoing a mental and physical workout by LexCorp. Despite being given a potential new lease on life, Jones still thinks it might be too much work. He actually asks he can simply have a cash buyout for whatever LexCorp is planning to do. He really is a parasite

Unfortunately, he eats a doughnut which has fallen into some hazardous biochemical ooze, triggering his transformation from a parasite into The Parasite.

Okay, the doughnut origin was the one small piece of the book that didn't wow me. Seemed a bit silly.

The Parasite begins draining and killing Luthor's workers. Their cries for help are heard by Clark who is witnessing a back and forth interview between Lois and Lex.

I love how Clark exits so he can save people. He calls the exchange a waste of time, which is the truth. Both Lois and Lex are stunned and ask him if he is serious when he asks where the bathroom is. In some ways this will make Clark seem like a stronger person than the meek klutz he has been acting like. Walking out on an interview with Luthor? That would take backbone.


But he does leave, changing into Superman and taking on the Parasite. After initially being drained a bit, he is able to subdue Rudy with a mix of heat vision and then super breath.


But the people of Metropolis are still nervous, still afraid. They don't know what to make of Superman yet. And Luthor knows how to fan the fires of fear. He asks if Superman wants everyone to kneel before him ... an ironic question coming from Lex.

And then he asks the million dollar question ... is Superman human?

Luthor has been the city's savior in the past. The people are sure to believe him. Could Superman be an intergalactic conqueror?

As with last issue's rescue, Superman leaves before facing the tough questions.

He flies back to the Daily Planet and runs into Jimmy Olsen on the roof.

The early part of the issue shows how Luthor can't relate to the common man. Here we see how Superman can relate. Jimmy talks about how he thinks he is going to leave Metropolis because he is failing there. Superman says he thinking of leaving too. Jimmy wonders what chance he could have.

But rather than leave, Superman befriends Jimmy and let's him take a photo for the paper. I wish I could post the whole scene.

Some things that I loved but didn't show. One, Clark remembering his parents telling him they will always be proud of him. Also, the first picture Jimmy takes Superman has his hands over his groin, strikingly similar to a Christopher Reeve promo picture. Jimmy makes him strike the more classic pose of hands on hips.

Despite her usual negativism, Lois writes a glowingly positive piece about Superman. Her headline calling Superman the city's new savior is the only one that is upbeat. The other papers, all in Luthor's pockets, are playing up the fear angle. The Planet has declared war on Luthor.

In case you can't tell, I loved this issue. My only complaint outside of the doughnut was the cover. Lara will always have black hair in my book. And she shouldn't look 30 years younger than Jor-El.

But outside of 2 minor stumbles, this book was great. I am interested in seeing just how the city slowly recreates itself with Superman there.

Overall grade: A

Review: Superman Secret Origin #3

Superman Secret Origin #3 was another excellent issue of in what has been a really wonderful miniseries. It's hard to believe that we're already halfway through.

Geoff Johns and Gary Frank really seem to be clicking on all cylinders here. It seems as though the two of them are picking the best parts of all prior versions of the Superman's origin and are creating some sort of hybrid, some sort of creative alloy. I definitely see pieces of the Silver Age here; there are definitely pieces of the Donner films here. I even think I see part of the animated series here.

It is as if Johns wants to create a fundamental origin story which all fans of Superman can come to and enjoy.

But there is no getting away from the character of Superman and what he represents. And I think that is as important a part of this miniseries as the action scenes and introduction of characters. Superman represents the best that man can be; he represents hope. And that really is an underlying theme here.

Now I don't often get variant covers. Okay, maybe I always get them with Supergirl.

But I don't usually get variants unless the cover is so striking that I feel that I would want it in my collection. And this cover fit the bill.

This is such a great picture of Superman saving what was that first time. It certainly grabbed me as I was scanning the shelves. Plus, it wasn't that expensive.

The issue starts years after last issue ended. This isn't Clark as a young boy in Smallville. This is Clark arriving in Metropolis for his first day as a Daily Planet reporter. In many ways this mirrors the Silver Age in that Clark's college years were sort of the lost years in his history. That transition from Superboy to Superman was hinted at now and then. But he was never chiseled in stone.

This opening panel tells us so much.

First off, Clark's simple response of "golly" sets up how he will be portrayed by Johns here. This isn't John Byrne's mild-mannered but confident reporter, the man that was a high school football star and had a weak bench in his apartment. This is Clark as the small-town man who has moved to the big city.

But for me, the bigger thing was just the appearance of Metropolis here. This is not the shining City Of Tomorrow. This is something more akin to Gotham. Trash is flying around. Graffiti is seen on the buildings. A lifeless tree adorns the sidewalk. And people are walking with little regard for each other. In fact, Clark's first interaction with a citizen of Metropolis is someone who accuses him of trying to steal her purse when he was only trying to help her. A newspaper is seen trumpeting Lex Luthor's position in the city. (Ironic that it is the Daily Star reporting this, the original newspaper from Siegel and Shuster's strip.)

It is as though without Superman's presence, Metropolis is just another dingy big city plodding along, mired in it's own decay.

That sentiment of a hopeless city is hammered home in the next scene as Clark walks to work. A throng of people are lined up outside of Luthor's tower. It seems that Lex has a tradition of coming out each morning at 8AM and picking someone in the crowd to grant a 'miracle' to. Many people in the city are in need and so they come to 'worship' in hopes of getting a boon from their god. Some of the people even look like they are praying!

Isn't that disheartening?

It is as though people there can't help each other or help themselves. It is as though salvation is something arbitrary and not something that can be worked for. It is as though their 'god' is capricious and with nothing else to hope for the people still flock to his temple.

And that is a city without hope.

More than any other scene in this issue, this small one stuck with me. For one, it showed me just how much Metropolis needed Superman. But more importantly, it should me just how much an impact Superman has on the city as a whole. With Superman as a role model, we know this city will change.

As this is a new origin, we get to meet old characters for the first time again.

I was pretty impressed with how Johns re-created Rudy Jones as a beggar of sorts. He truly is a parasite as he talks Clark out of his lunch and 20 bucks.

This scene also reinvents Clark is being a somewhat clumsy person. I don't know if I need to see Clark tripping and falling all the time. But historically this was one way that he differentiated himself from Superman.

And we also get to meet the Daily Planet staff for the first time as well.

Jimmy is once again a fledgling photographer, interning at the paper.

Steve Lombard looks a bit younger and more fit than we have seen him recently.

But most interesting was seeing Cat Grant. She doesn't have the - ahem- pulchritude we are used to seeing. But she is still flaunting her sexuality a bit telling Steve that she works out but not in gyms.

We see that Perry White is the embattled editor of the paper. He is the one who wants the paper to be the bastion of "truth, justice, and the American way." But it seems as though he crossed Luthor in the past and as a result the paper has been blackballed. They have no advertising money and are on the brink of bankruptcy. It is clear that White has no love for Luthor and knows what Lex is. Unfortunately, it seems as though the flight is out of him.

The star of this issue though is clearly Lois. We see that she is still a pit bull of our reporter, willing to do just about anything to get her story. And it is clear she wants to uncover Luthor for what he is. But the paper's owners aren't allowing her to cover him anymore.

But there is more to Lois here than just her spirit. Perry tells her that she is too cynical, that she can't see the good in anything. Just like Metropolis, Lois needed Superman to shed her total negativity and be all that she could be.

Lois is introduced to Clark and befriends him. She also uses him a bit and she concocts a scheme to get into a Luthor demonstration.

She brings Clark to her desk. It looks like a disaster perhaps showing the disarray in Lois's life. We also see that she has a suitor as flowers from someone named Jon are delivered to her desk and promptly thrown out. Who is that?

While it is clear that Lois is using Clark here, she didn't belittle him or try to lose him. I am glad she was open to working with him as a colleague.

Since the Daily Planet reporters are no longer allowed to cover Luthor events, Lois uses Clark is a diversion. She climbs over the fence while Clark flashes his press badge at the front gate.

It is kind of fun to see just how spunky Lois is in these early days. I wouldn't expect the current day Lois to don a blonde wig and sunglasses and scale a fence to get a story. But I can definitely see how doing that here would make her into the reporter that she is now.

The Luthor event is to show off a new military battle suit constructed of Metallo, a new metal with remarkable properties when exposed to certain radiation.

I thought that this was a subtle nod to Superman: the Animated Series as it was at a military battle suit unveiling that Superman revealed himself there. The pilot of that battle suit in that episode turned out to be Metallo. I thought this was a nice homage.

I also find it interesting that while Luthor is such a key part of this issue, he's only physically seen once, in this panel, and his face is covered. Is he bald? Does he still have hair? Is he wearing a wig?

Unfortunately, Lois is discovered before the demonstration can even begin. And as she runs away from the security guards, she actually trips and falls off the roof.

Clark, on the street as he'd been turned away, hears her screams. He makes a fateful decision to reveal himself and save her.

I love this panel as well. This is, in essence, the first time that Clark strikes this iconic pose, ripping off his clothes to reveal the S-shield. Wonderful.

And then in the most apparent nod to the Donner films, he not only flies to Lois' rescue but he also catches a helicopter which had fallen off the roof as well.

This panel is a near mirror image of the similar scene in Superman: The Movie. I almost expected to Lois to say "you've got me, who's got you?"

I have said it before and I will say it again. I never knew that Donner films had such a huge impact on current comics creators. I find it all very interesting.

This dramatic rescue unfortunately lets the genie out of the bottle. The citizens of Metropolis flock to Superman begging him to save them, give them something, tell them how he can fly. It's sad.

They don't even know Superman and already they are asking him for a miracle. This city is in dire straits with a completely hopeless population.

And Clark has no idea how to respond to this. This is not what he expected. And he wonders if he has made a mistake.

I am not surprised to see Clark questioned his decision to reveal himself given the bizarre response of the citizens. How can he possibly help or save everybody? How can he save the people he needs to if others are in no way hoping he can help them with their more mundane needs? Here is where he needs to realize that he has to become a symbol of hope and selflessness, that only when people help each other as he does can the city become a better place.
I thoroughly enjoyed this issue. Like I said at the beginning, there is so much in the story that is familiar but there are subtle nuances that update these classic elements. We saw this in the 'Brainiac' and 'The Legion' storylines in Action Comics ... classic pieces of Superman's origin and history refurbished and reenergized.

And I don't think that I can gush anymore about Gary Frank's art. Yes, at times I find his rendition of Clark as Christopher Reeve a little bit distracting. But everything else is so perfect that I can live with it.

We're halfway done and already I can get the sense that this will become "the" Superman origin for some time. This will hold up for the usual 20+ years that these things usually do when they are done right.

Overall grade: A+