Action Comics #583 (September 1986)(cover by Curt Swan and Murphy Anderson)
"Whatever Happened to the Man of Tomorrow?, part two"
Alan Moore-Curt Swan/Kurt Schaffenberger

Doug: Welcome back to the conclusion of the tale that ended the run of the original Superman. Two weeks ago we reviewed the first installment from Superman #423. Both of us remarked that the art was a bit off -- if you'll recall, that first story in the 2-parter was drawn by Curt Swan with inks by George Perez. While both men are among the greats of the industry (truly of any time throughout the history of the comic book), the combination just seemed odd to us. Today, however, we find Swan on the lead again but this time embellished by veteran Silver Age Superman artist Kurt Schaffenberger. We'll see how we like it. One thing's for sure, and I said this at the top last time: this ain't yer daddy's Superman story!

Karen: Some of our regular readers remarked in the first half of this review on how they felt Moore was perhaps not the best choice to write this final tale of the Silver Age Superman. I think for me, as someone who reveres Superman as the first super-hero but has no special feelings or fondness for the character, it's easier to read through this story, so serious and final, and accept it for what it is.

Doug: Perhaps it's Moore's distance from the character (he'd written Superman only a couple of times prior to this story, I believe) that allows us to stomach this story. Had it been commissioned to Elliott S! Maggin or some other Bronze Age Superman scribe, it most likely would not have turned out this way (for better or for worse). But I feel that those who eschew Moore's superhero work at DC have a point. We've not reviewed The Killing Joke yet, but the outcome of that story for Batgirl has certainly left more than a few Silver and Bronze Age fans with a bad taste in their mouths.


Doug: We open where we began the first part -- at the home of Lois Elliot (nee Lane). As Tim Crane continues the interview, Lois's husband, Jordan, enters. He's a big guy, sort of down-home looking with a speech pattern that matches. Crane remarks to Elliot that he hopes he doesn't mind the interview about Superman. Elliot comes off as a real jerk when he states that Superman wasn't anything special. Lois doesn't flinch, but it seemed really callous. As Elliot leaves the room, Lois picks up the story where she left off -- in the Fortress of Solitude right before the siege began. Superman used his heat vision to melt the giant key, effectively locking him and his friends inside. But outside, the death-dealers began to mass.

Karen: "Jordy" hardly seems like the kind of guy Lois would settle down with, right? I can already tell you, I'm more comfortable with the art in this issue than in the previous one. It doesn't seem like it's fighting itself, you know what I mean?

Doug: First to arrive to the Fortress were the new Brainiac-Luthor combination with the Kryptonite Man in tow. Brainiac walks Luthor's body boldly off the aircraft, when a time bubble suddenly appears. Disembarking are the Legion of Super-Villains: Cosmic King, Saturn Woman, and Lightning Lord. They have come to see the final fate of the Man of Steel at the hands of his greatest enemy. Of course Brainiac calculates that it must be him for all of his wrongdoing through the years. But the Villains tell Brainiac that Superman's friends will come to his aid; Brainiac heads into his ship to erect an impenetrable forcefield around the Fortress of Solitude. Even just a few pages into this, the ill feeling of death and destruction that had come over me while reading part one was again weighing on me. Alan Moore was crafting a story unlike we'd seen in DC Comics to this point (one could argue that Gerry Conway had done a story of similar magnitude in Amazing Spider-Man #s 121-122).

Karen: You wouldn't think the situation could feel so dire with such classic Silver Age art and characters like the Legion of Super-Villains hanging around. Yet I share your assessment. There's a definite feeling that all of this is very wrong, which of course is what they were going for.

Doug: I think the fact that the LoSV showed up to watch is its own kind of morbidity. So in a throwback to the days when the Great Refuge was encased in a field that kept Johnny from Crystal, we see the Fortress under a huge yellow dome. Using conventional weapons Brainiac had brought on his ship, the villains began to assault the Fortress. Superman fought back from afar with his heat vision and even ventured outside with Krypto to attempt a full engagement. The Kryptonite Man nixed that strategy. Outside the dome the Justice League assembled, but couldn't punch their way through. As evening turned to night, a stalemate was declared. Superman stopped by Perry White's room and sought his counsel. Perry remarked that he'd just been sitting around, thinking about the doom that was coming, and of divorcing his wife Alice. Superman said that he felt that he was going to die soon, and lamented that he'd strung both Lois and Lana along all these years with no intention of fulfilling either relationship. He commented that he'd been a coward.

Karen: Not to break the mood, but why were Batman and Robin just hitting the force field with what looked like sticks? Good grief! I think someone needed to put a little more thought into that one. But onto the meat of this segment: Superman's talk/confession to Perry. It's disturbing to have Superman state that he believes he's going to die. He just keeps clutching that statuette that the Legion gave him and staring at it. It's as if he's staring at his own tombstone, or monument, perhaps. The fact that he recognizes that he's wronged both Lois and Lana all these years throws a different light on the Superman of the Silver Age who seemed to fall for every woman with the initials "L.L." -Lana, Lois, Lori Lemaris, Lyla Lerrol, Luma Lynai! It always seemed so callous of him to let these women pine over him. Perhaps there was more to it?

Doug: It's funny that you mention that scene with Batman and Robin. I got a real Super Friends vibe from that -- very childlike in nature. In regard to Superman and his women, and his ignoring of their love for him, it's a whole new level of Superdickery.

Doug: In another part of the Fortress, Jimmy and Lana ran into each other while exploring. Both were looking for a way to help Superman, and both knew that Superman kept elements of their super-heroic pasts in the Fortress. Jimmy found the Elastic Lad serum, but I was a bit confused (showing my Superman-lore ignorance here) at Lana taking a dip in some sort of super-power enhancing bath. I had expected her to don the Insect Queen garb, but instead she came out dressed in a costume I did not know. Anyway, as part of Lana's powerset, she had all of the powers of Superman, including super-hearing. She was able to hear Supe's confession to Perry, that as a child he had loved Lana, but as an adult he loved Lois with all his heart. He said he'd never tell Lois he loved her, as that would hurt Lana -- and he'd never hurt Lana. So with that forbidden knowledge now her own, Lana led Jimmy outside to attempt to break through the barrier.

Karen: Moore did his homework obviously! I too only knew of Lana's Insect Queen identity, from reading so many Legion comics. Superman's statement about the two loves of his life really made sense, although it does seem cowardly when you come right down to it. He should have let Lana move on. It does however, help to explain what seemed to be a very cruel pattern of behavior by the Man of Steel for many years! Lana's determination to show everyone that "Nobody loved him better than us!" is just crushing.



Doug: Lana and Jimmy take it right to Brainiac and the Legion of Super-Villains. Lana engaged the Kryptonite Man first, but her attention was almost immediately drawn to Brainiac. He boasted of his impending victory, when suddenly Luthor managed to wrest control of his own mind for a brief moment, long enough to tell Lana to kill him. Taken aback, Lana nevertheless struck Luthor on the side of the neck, shattering his spinal column. Luthor's body crumpled to the ground as Jimmy was atop the Brainiac ship, working feverishly to destroy the generator. The Super-Villains had been observing, when Saturn Woman scanned Lana's mind to see who she was and where she'd come from. Quickly deducing that Lana had received her powers from a radioactive bath, Cosmic King used his powers to transmute some of her cells and remove her powers. Lightning Lord stepped forward to "help her up", but instead incinerated her. Lana Lang died a pile of ashes.

Karen: Things really start to get brutal again. Lana quickly and easily dispenses with both Kryptonite Man and Brainiac-Luthor. Luthor's brief plea for death was welcome, but I do sort of wish we'd seen more of Luthor in this story; somehow, it doesn't seem right that he was so marginalized in the "final" Superman story. Lana's incineration is horrific, even though it is not shown in detail.



Doug: You know, in a way I think Moore was giving Luthor the ultimate comeuppance. Let's face it, behind the Batman Luthor was the most arrogant character in the DC Unverse. Of course he would fancy himself "Superman's greatest enemy". Not so fast... And Moore takes him virtually out of the story.

Doug: Jimmy died right after Lana, as Brainiac used all of his resources to raise Luthor's body and fire a blast into Jimmy's back. This scene was pretty disgusting, as Brainiac struggled to keep Luthor's body upright -- Luthor's eyes were rolled back in his head. The Kryptonite Man noticed that the barrier was still intact, in spite of Jimmy's disruption of it. Ignoring that fact, Brainiac ordered a nuclear strike against the Fortress. Blowing a gaping hole in one side, it didn't destroy it. Inside, Perry quickly made amends with his wife. The Kryptonite Man was the first to enter the Fortress, and he did it loudly, ordering Superman to show himself. While he began to search the premises, he was attacked without warning by Krypto. The loyal pet went straight for his enemy's throat, tearing it open. But the close exposure to the radiation and the direct contact with the contaminated blood ended Krypto's life.

Karen: Oh boy. Call me a sap, but seeing Krytpo die really gave me a lump in my throat. Such a loyal companion, a source of much joy and comedy over the years, here becomes a fierce protector. His final death howl had me holding back a tear. And yes, I know Jimmy died too!

Doug: I loved the scene with Krypto. And Moore played that straight, choosing not to include the other Super-Pets. Kara's mention of Streaky in part one seemed enough. In another part of the Fortress, Superman flew with Lois, looking for refuge as well as for the others. They flew through a trophy room, where we saw destroyed images of Lori Lemaris and of Titano the Super-Ape (because everything's better with gorillas -- never forget that). The Legion of Super-Villains have entered the Fortress and gloat over Lana's death. Superman did not know that had happened, and goes berserk. His heat vision burns Lightning Lord's arm, and Saturn Woman warns that the Kryptonian intends to kill. They flee immediately, board their time bubble, and make tracks back to the 30th century. Superman (oddly still carrying the statuette given to him by Brainiac-5) and Lois fly outside to find Luthor. His body has fully quit on Brainiac, and with that their symbiosis is ended. Brainiac disengages from Luthor's skull, and despite his last threats also dies. Pete Ross, Lana Lang, Jimmy Olsen, Lex Luthor, the Kryptonite Man, Bizarro, Krypto, Metallo, Supergirl (in the Crisis), and now Brainiac... all dead. Lois remarked to Tim Crane that it was over. Except for the fact that they couldn't figure out why all this had happened in the first place, and why the force shield was still in place.

Karen: How times change. Whereas it is now common place to have Superman turn his heat vision on foes, this Superman would never do such a thing -until now. The shock and fear on Lightning Lord's face gets across the point that things have changed. Yet -Superman does not kill them.

Doug: Superman thought for several minutes, going back over the chain of events. He had an a-ha moment, and called aloud for Mr. Mxyzptlk to appear. And sure enough -- vwoomf! He appeared, floating in the air. He told Superman that he was bored, that as an immortal life needs to be changed up every couple of thousand years. After a do-nothing phase, followed by an altruistic phase, Mxyzptlk figured he'd try his hand at general orneriness. That had ended, and beginning with Superman's death, he was going to try evil for a while. In another of the Silver Age tropes blown apart by Moore's script, Mxyzptlk says as he shows his true form: "Did you honestly believe a fifth-dimensional sorcerer would resemble a funny little man in a derby hat?" Superman fled with Lois -- after all, Mxyzptlk's magic could not be defeated.

Karen: In retrospect, it might seem obvious -make one of Superman's goofiest villains into his most dangerous -but at the time, it was truly a "wow" moment. Given the imp's powers, he certainly could hold that position. I liked the way Mxyzptlk's true form was shown. More of an energy being than anything else. It's the whole 'Wizard of Oz' theme all over again.

Doug: In the crescendo of the story, Mxyzptlk pursued Superman and Lois throughout the Fortress, finally catching them. Superman told Lois to run, figuring that this was his end. But she looked in her hands at the statuette that she still held -- and in the clutches of the figure of Superman, a familiar device. She told him to look at it, and instantly he knew what had to be done. They flew again to another chamber, where Superman picked up the Phantom Zone projector. Pointing it at Mxyzptlk, he told him that it was indeed over. Turning on the projector, Mxyzptlk spoke his own name backwards in an effort to escape back to his fifth dimension; the going-two-places-at-the-same-time effect ripped him in half. Superman's greatest enemy didn't win the day; Superman did. Or did he?


Karen: Those clever 30th century kids! Giving Superman a tribute that was also a clue to how to defeat his greatest enemy! Of course, Lois is the one who figures it out, even though the Man of Steel has been staring at the darn thing for hours. About the Phantom Zone though: so Superman felt it was alright for him to pass judgment on his enemies and imprison them forever in this other dimension, but not to kill them? Some might consider imprisonment even worse than death. 

Doug: The Phantom Zone was sort of DC's version of Marvel's Limbo, wasn't it? I suppose since the Phantom Zone was not under the influence of any sun, the Kryptonians imprisoned would not be immortal. So that they didn't die, can we assume that there was no time in the Phantom Zone? Mon-el never aged... Talk about 20 years-to life!

Doug: Superman killed Mr. Mxyzptlk. But the Man of Tomorrow was crushed, emotionally void. No one, he said, had the right to kill another -- and especially not Superman. He began to walk away from Lois, she pursuing him frantically. He walked to a chamber marked "Gold Kryptonite" and "Keep Out!" Superman turned the handle and entered the chamber, a smile across his lips as he looked back at Lois. She told Tim Crane that she never saw him again, and it was assumed he'd walked out a secret passage in the back of the room only to die of exposure, powerless in the Arctic winds. Around the grounds of the Fortress of Solitude, the JLA picked up the pieces. It had been a blood bath.


Karen: This was Superman as we, children of the Bronze Age, knew him: a god with a conscience, the one person we could trust to always do what's right. Even if it means the end of Superman.

Karen: Just a side comment: who the heck was that guy shown cradling a body (is it Lana? The chest insignia looks like hers) wearing go-go boots, hot pants, and a vest? I think he was shown earlier attacking the force shield. How the heck  does he merit space and not Green Lantern or Aquaman, etc.?

Doug: Search me -- I didn't know that character, either.  I also don't know who the woman is in red and blue with the Superman shield on her cape. Call me dumb, but I'm just not up on the mythos in the era right before the Crisis. So with the interview over, Tim Crane got up to leave the Elliot household. As he packed up, Jordan reemerged with baby Jonathan. He spoke a pleasantry to Crane as the reporter headed down the sidewalk. The door closed, Lois said it was good to be free from the media again -- at least for another decade. Lois and Jordan small-talked, planned for their evening... while baby Jonathan sat on the floor, playing near a bin of coal. And then he set a diamond back into the bin. A diamond...?

Karen: Notice how 'Jordy's' speech pattern changed as soon as the reporter left? That was well done. And Jonathan has a nice spit-curl hanging down on his forehead. Jordan Elliot... Jor El... Jonathan -a name we know from Jonathan Kent. And that little wink by 'Jordy' at the end -it reminded me of the old Superman cartoons in the 60s. I enjoyed this ending, corny as it was.




Doug: So did you feel that Mr. Mxyzptlk was really "Superman's Greatest Foe"? As I finished and was writing the plot synopsis, I couldn't help but wonder if Moore didn't have something else in mind. I guess options for other "greatests" would be Superman himself, maybe even Clark Kent. I also wondered if Superman's moral code could have been considered his greatest adversary. Or was it Lois Lane? As long as she was around and loved Superman, could he ever be complete as a man? Did Superman have to die to fulfill Lois's love for him? In the end, that's where Moore ended up.

Karen: Perhaps Superman's greatest foe was the coming age of grim and gritty comics.How could such a morally upright character survive the times to come? Look at what they've done to him today, in this 'New 52' universe? No, the old Kal-El would be spinning in his Kryptonian tomb. 

Doug: Regardless of what you feel about John Byrne's re-imagining of the Man of Steel mythos, this Moore/Swan two-parter has to be among the best Superman stories of all time. As I've said several times, it's so atypical of a Superman story mood-wise. The body count is high, there's a level of distress unseen prior, and the conclusion is not all that sunny. Yet it's an honest homage to what had gone before over almost 50 years of Superman stories, at times playfully making fun of elements of the backstory, at others breaking our hearts with the relationships between characters that even as casual fans we'd known and maybe even loved. I'm glad to have read this for the first time all these years later, and regretful still that I did not read it when I bought it almost 30 years ago.

Karen: Although there are aspects of the story that seem to playfully poke some fun at the Silver Age past, I too felt that this was a respectful treatment of the classic Superman, a respectful farewell to him and to all of his supporting cast and accouterments. The Superman in this story is pretty much how I still think of him: all-powerful, yet also supremely good. Today most depictions of the Man of Steel seem to forget that second part.

Superman #423 (September 1986)(cover by Curt Swan and Murphy Anderson)
"Whatever Happened to the Man of Tomorrow?, part one"
Alan Moore-Curt Swan/George Perez

Doug: Well, that was more than I expected! I bought both of the last issues of the original Superman titles off the newsstand ahead of the release of John Byrne's Man of Steel mini-series that would almost completely reimagine the character. But upon doing the re-read out of my copy of the deluxe edition hardcover Superman: Whatever Happened to the Man of Tomorrow? (from which I'll be providing scans for these two reviews) I am quite sure that I never read these almost 30 years ago as new comics! I say that because when I set my eyeballs to doing their thing I was pretty taken aback at the content of both today's issue as well as the climax in Action Comics #583. This wasn't one of yer daddy's Superman yarns!

Karen: I've never been a Superman fan. Never read the title consistently. I picked up the Byrne issues for a while but they never felt right. Most of my exposure to Superman came through other books, like Justice League, or through cartoons or the TV show or films. I liked the character in his purest sense -the all-powerful, benevolent being who chose to do good -but never found him all that interesting to read about. I grabbed these issues off the stands and read them right in the midst of everything changing at DC, what with the Crisis happening. This two-part story made me care about Superman like I never had before -all when it was too late.


Doug: I'll tell you the first thing that took me aback -- the art! Now Curt Swan is as comfortable on Superman as a cozy-yet-worn sweater. But I'd neglected to look at the creator credits as I began reading, and by the time I got to the third page I was grimacing somewhat at the pictures. Something just wasn't right -- and I knew Murphy Anderson had inked the cover. But this definitely wasn't the "Swanderson" team on the inside! Wow -- it was George Perez! Now I'll stand in any line that exists for heaping the highest praises on Perez -- one of the all-time masters. Yet, this really didn't feel right. To be honest, I never did warm to this combination. At times I could really see Swan; at other times Perez. In the middle was some general mish-mashing, and that was troublesome for me. Honestly, in the second installment Kurt Schaffenberger's inks were much more in tune with the "classic" Superman. My two cents.

Karen: I had the same problems with the Perez-inked Swan art. I thought he over-powered Swan. Although I love Perez, I don't think it was a great decision to have him ink Swan. I would rather have seen a more classic look for this tale. Despite not being a Superman fan, when I think of Supes, Swan is the artist I think of. 

Doug: Agreed. And I don't want to take away from Neal Adams, Jose Luis Garcia-Lopez, or any of the other fine Bronze Age artists who worked on the Man of Steel. But Swan's the most easily-identified Superman artist for me.

Karen: And can we also talk about the writer? Does Alan Moore instantly come to mind when one thinks of Superman? Certainly not to me. I'm reading this out of the TPB, and the introduction by Paul Kupperberg says that outgoing long-time Superman editor Julius Schwartz had originally tried to get Superman co-creator Jerry Siegel to come back to write the book. But there were legal problems with that (no surprise). Alan Moore was having breakfast with Schwarz and reportedly grabbed him by the neck and demanded to write the story! Schwarz apparently thought it was a good idea (or was terrified of Moore) and agreed. Of course, Moore was a rising star at the time, so it makes sense from that aspect. But he was also someone who was involved (more than a little!) in breaking down the old vision of super-heroes and constructing the new, darker age -the exact opposite of what the original Superman was. It's an odd selection to my mind. Why not get a writer with a long association with the character, someone who believes in and respects the concepts the character was built upon? But you know what? It works. It works beautifully.

Doug: Didn't Moore jokingly (I hope) say to Julie that if he considered anyone else to write the story, he'd (Moore) kill him!? Julie Schwartz was a very nice man; I can't speak for Alan Moore. But I agree -- Moore did seem to be an odd choice. But, maybe in the midst of all of the rebooting hullabaloo, the marketing department wanted some guaranteed home runs. I guess this would qualify, although the creative combination does strike me as strange.

Doug: So we open at the home of Lois Lane... er, Lois Elliot. Our story is set 10 years after the alleged death of Superman, and the Daily Planet is writing a commemorative story about the woman who knew him best. Lois invites Tim Crane, the reporter assigned to the story, inside. Crane sets up his recording equipment while Lois gets them some coffee. I had to laugh, as this story takes place in 1997 -- to see the art team attempt to come up with some not-so-crazy futuristic features of the Elliot home is humorous. But it doesn't take long to establish the theme for Alan Moore's last Superman story: death.

Karen: The design aspects of the art is the one place you can really see Swan come through. The bizarre domed coffee machine just screams of a 1960s view of 'the future.' Same for the outfits of Lois and the reporter. 

Doug: Lois begins to answer Crane's question about the last years of Superman's life by telling of the deaths or deactivations of Superman's rogues gallery -- gone were Brainiac, the Parasite, Terra-Man... and Luthor hadn't been heard from in quite some time. Things seemed to be looking up in a way, until Superman returned from a space mission to find Bizarro in a frenzy of destruction. In his twisted, imperfect mind, he was destroying the Earth. He had begun by destroying his own homeworld before wreaking havoc on Earth. Superman attempted to reason with his imperfect duplicate, but to no avail. Bizarro exposed himself to blue Kryptonite, which proved fatal. Lois remarked that his rage had gone from genocidal to homicidal to suicidal. Another thorn in Superman's side, gone.

Karen: Bizarro had always been -at least to me -a joke. I recall my uncle had a big 80-page Giant that was all about the Bizzaro world and I must have read that comic several times over, and it was just the craziest, goofiest stuff. Yes, Bizarro was powerful. But he wasn't evil, just wacky. But here, he's a disturbing imperfect copy of Superman -a reminder of all the horrible things the Man of Steel could do if he wasn't the good, decent person we've always known. In his efforts to be the most 'imperfect' version of Superman that he can be, Bizarro has wiped out his world -that charmingly funky square planet populated with all those other weirdos. One of the most silly, innocent parts of the Superman mythos has plunged into a very dark place.

Doug: Crane next asked about the "unmasking" of Clark Kent, and Lois began to speak of it. While on the WGBS news set with Lana Lang, Clark received two packages. The smaller of the two was brought into the studio and opened. Inside were several Superman action figures -- but that seemed alive! They possessed heat vision and immediately set about destroying the set. Several fired at once on Kent, burning his clothes right off his body, revealing the blue and red costume of Superman underneath! Lana gasped, and then remarked that all these years, Clark Kent was Superman! The toys then say what all of us have been thinking -- how could everyone be fooled by a comb over and a pair of glasses? Superman deduces that this is the work of the Toyman and the Prankster, and asks how they got through his secret identity. They tell him to open the other, larger package. Using his body to shield his friends and co-workers, Superman moves toward the box. When he touches the lid, it springs open to reveal a very dead Pete Ross. Ross had been brainwashed (could we potentially read "tortured" into this?) and had given up Clark's ID. Now Ross was dead. Superman picked up the frequency the villains were using to broadcast, and flew at super speed to their headquarters. After a dust-up, they were sent to jail. Can we assume that Superman fought off any urges toward an eye-for-an-eye avenging of his childhood pal?

Karen: "Prankster... Toyman... Do you know what radio waves look like?" When Superman says this, the art team manages to convey the deeply serious tone that's needed here. And the implications -he can see radio waves! - once again lead us back to the era of the god-like Superman, who can do almost anything. His restraint with the two villains who slew his friend is remarkable, but again, this is what we've come to expect from our mysterious benefactor, isn't it? He always does what's right, he never acts out of anger or self-obsession. That's why he belongs to an age that is passing (back in 1986). He's not the Superman who would turn towards a foe, eyes blazing red, and say, "Burn!"


Doug:  What did you think of Moore poking fun at the secret ID trope? On the one hand, I suppose the comment about the glasses and combed hair was a tribute to the trope, but on the other I found it to be Moore speaking sarcastically.

Karen: Agreed. I also thought it was turning a page again on that era -an innocent time when no one was ever really in danger.

Doug: At Pete Ross's funeral, Superman detailed how he'd always feared this could happen. Perry White told him not to fret -- most of his enemies were now dead! But Superman couldn't shake the fact that he had no answer to the question, "what had turned a bunch of bozos into killers?" Lois told Crane that what Superman didn't say but that everyone was thinking was: what if Luthor and Brainiac did somehow come back? Now? Sceneshift to the Arctic, where we catch up with Luthor on a hunt for Brainiac; or at least, what was left of Brainiac. Using some sort of detector, Luthor located his former partner's head. Luthor gloats that he'll at last be able to open up Brainiac's skull and see about the alien technology. Not so fast! Suddenly small pieces of metal fly from Brainiac's skull and begin to adhere to Luthor's head! Before he knows it, Luthor no longer controls his mind or body -- Brainiac is using him as a host! Pledging revenge on Superman, Brainiac controls Luthor's body to begin walking. But to where?

Karen: The one thing I thought odd about this sequence is that they say once his identity was revealed, Superman dropped his Clark Kent side. So here we see Moore subscribing to the notion that Kent is a fiction and Superman is the real identity. I have difficulty with that. He was raised on Earth, by the Kents. I think there's a lot more of Clark in him than Kal-El. The question Superman asks at the funeral is a good one: what is compelling his old foes to act in such violent ways? One is tempted to say that it's simply they feel the new, 'grim and dark' age coming on. But we'll see. The scene with Luthor and Brainiac was almost comical -Luthor always sees himself as in charge. Not this time, pal!


Doug: You raise a question about heroes with dual identities that really stretches across the genre -- is Ben Grimm the Thing first, or Ben Grimm? Is Batman Bruce Wayne, or the Dark Knight? Which is the dominant personality? It's worth considering for most characters.

Doug: Back at Lois Elliot's house, she tells Crane a story of another tragedy that took place just days after the Ross funeral. On a sweltering day thousands of people had gathered outside the Daily Planet building. Suddenly, several of them ripped open their shirts to reveal the insignia of Metallo! The doppelgangers begin to scale the outside of the building, pledging to kill the friends of Clark Kent (see -- there's a whole lot of killing going on or being discussed here!). Jimmy Olsen uses his signal watch to call Superman, and the Man of Steel arrives in time to save a falling Lois. But Supes doesn't head back into the offices to engage this Metallo army. Instead, he flies Lois to the roof and begins to generate static on the column of the giant Daily Planet sculpture. Polarizing the sculpure, Superman uproots it and uses it as a giant magnet to attract the super-baddies; they were successfully rehumanized later.

Karen: There are a couple of things I really enjoyed in this scene, which was almost a throwaway scene, considering the no-name quality of these villains. One, Moore has Lois describe Superman streaking past her as "a violet comet," because he was flying so fast, the reds and blues of his suit blurred together. That's something so minor, yet a detail a person would notice. Two, the way Superman solves the problem, by magnetizing the Daily Planet globe, and as Lois puts it, magnetizing it just enough to attract the attackers but not the cars in the street below, once again demonstrates his intellect and god-like nature. He doesn't have magnetic powers? So what, he'll basically give himself magnetic powers by rubbing the iron rod so fast he makes a magnet. The guy is just incredible. 

Doug: As the Legion will be along shortly in this tale, it's interesting that you mention Superman's problem-solving abilities. I don't recall in any of the Legion of Super-Heroes stories I read as a kid that Brainiac-5 ever deferred to Superboy (I could be wrong). Here, Superman needs no higher-up to fix things -- he has solutions already in mind.


Doug: Superman decided that he needed to take action, with the attacks against him coming closer together and more threatening. He told all of his closest friends and co-workers that he would take them to the Fortress of Solitude, where he could better defend them if it came to that. Perry White's wife, Alice, was included even though she and Perry were on the "outs". Once at the Fortress, everyone began to settle in when Krypto arrived. Lois thought this was strange, as the pooch had been gone for several years. Back in Metropolis, Brainiac had managed to reconstruct his ship and had used it to spirit the Kryptonite Man to the city in search of the Man of Steel. But Superman was far away, getting his guests settled. As he talked to Krypto a bright light suddenly appeared in the room. It was a time bubble from the 30th century bearing Supergirl, Brainiac-5, Invisible Kid, and the three founding members of the Legion of Super-Heroes -- Lightning Lad, Saturn Girl, and Cosmic Boy. I thought it was interesting that they were wearing their Silver Age uniforms rather than the Cockrum/Grell re-designs.

Karen: The Fortress of Solitude and Krypto are more parts of a by-gone time. While the Fortress seemed to magnify Superman's godlike nature, I always felt Krypto bought him down to Earth. Is there anything that humanizes us more than sitting, talking to our dogs? I also noted that the Legion were in older outfits -I assume this meant they were coming from an early point in their history. Or perhaps the simpler explanation is that this is simply how they looked when Curt Swan was drawing the Legion.

Doug: Brainy says to Superman that they felt like dropping in because they thought he could use a friend. Superman thinks that's a little odd, and then has a moment alone with Brainy. Supes sort of lets him have it for bringing Supergirl, as Kara Zor-el had died in the recent Crisis. Poor Kara -- this one asks her cousin if she has grown up to be a pretty Superwoman in 1986; Superman assures her that she's beautiful. I'm telling you, by this point in the story I was about overwhelmed with the morbidity of it all. This was really a pretty tough read! I was no huge Superman fan back in the day; in fact, I've said often how much I loved Superboy yet stayed away from Superman comics. But most of us know the mythos, so to see this gradual culling of the layers of Superman's life was becoming difficult. Brainy turns Superman's chastisement right back on him, asking if Superman knew of something bad that would happen in the future if he would inform the Legionnaires. Superman said "no", so accepted Brainiac-5's gift of a small sculpture of Superboy holding a Phantom Zone projector.

Karen: The scenes with the Legion and Supergirl are just heart-wrenching. Like you, I was not a Superman fan per se but I was a Superboy and the Legion fan, and of course, we'd just had Supergirl tragically die in Crisis on Infinite Earths, so seeing the Legion muddle through what is obviously their final good-bye is hard to take. And they may be young but really? They brought Kara? Poor Clark! No wonder he snaps at Brainy. Brainy's apology isn't too good either. Does he really need to mention "some unavoidable doom awaiting" the Man of Tomorrow?


Doug: As the Legion was preparing to depart, Supergirl asked Superman why she could have materialized in an era in which she existed. Superman tried to brush off the question, saying that the Supergirl of 1986 had gone into the past. Supergirl accepted that, and as Brainy encouraged the team to board the bubble Superman was left with the sense that they'd come to see him for the last time. Lois narrated to Crane that when she woke the next morning, before the siege began, she knew something was wrong -- Superman looked funny. He looked as if he'd been crying.

Karen: That line, and that final shot of Superman alone with Krypto, his head in his hand, well, it was like all  the air had been knocked out of me when I saw it.

Doug: Despite my reservations about the level of violence in this story, I have to say that it was told with integrity to the history. I thought the Legion scene was especially emotional, and I'm sure if I hadn't been a dope and had actually read these two issues when I bought them I'd have been even more moved by Kara's questions. Curt Swan's art was also comfortable as I said at the top, but man -- were there times when it seemed like it was all-Perez and/or all-Swan. I guess you can't lose with that, but it was overall weird. So having read the conclusion, I can tell you that I'm already looking forward to writing that up and my partner's color commentary! We'll be back with that in two weeks!

Mythology. The DC Comics Art of Alex Ross (Pantheon, 2003)
"The Trust."
Chip Kidd-Alex Ross

Doug:  Closing time, kids.  Not only does today's review close out our month of special stories painted by Alex Ross, but this is our last review before our now-2nd annual vacation.  If you're just dropping in today to check out this post, Karen and I will be taking a break from new posts during the month of January.  In our place you'll find "classic" reviews from our library, as well as lively conversation generated by our readers.  But that's for three days from now.  Today we want to expose many of you to a nifty little story found at the very back of the luscious hardcover you see pictured above.  Designer and text author Chip Kidd teamed with Ross to produce an 8-page story featuring Superman and Batman and Robin.  What can you accomplish in only 8 pages, you might ask?  Why wait?

Karen: I was excited when Doug brought up wanting to review this story in one of our "editors' meetings". I'd read it ages ago and enjoyed it but never thought about reviewing it here. I'm looking forward to this chance to revisit it.

Doug:  It was a nice refresher -- I'd only vaguely recalled the story, and had to look it up to make sure I hadn't dreamt the whole thing!


Doug:  I'll need our DC fans to help me out with this one -- has there ever been a contingency plan in the DCU for dealing with an out-of-his-mind Superman?  I think we all know that in the Marvel Universe, through the years, there have been many a'plan to engage the Hulk when on a berserker rage.  I have no idea if this is a new idea or not, but it's going to be cool.  We open with Superman doing a right-angle smash through the center of the logo sculpture atop the Daily Planet building.  The Batman is on that same roof, weighing his options.  The media has already sent out the word that Superman is out-of-control; the military will soon be on the follow.  Batman knows what he has to do -- it's something he and Superman had agreed to at a prior time.

Karen: I know there was a story (the title escapes me) a few years back where secret plans Batman had made for taking down everyone in the JLA were stolen and used against the heroes. Of course, Batman's team-mates were not too pleased that he had made these contingency plans, but that's the way Batman operates in DC nowadays. In this story, Batman and Superman are obviously still buddies and have made plans together in case something has happened to drive Superman out of control. I like that a lot better.


Doug:  So a batarang shoots out from a pistol, and a line encircles the ankles of the Man of Steel.  Now I know Batman's much stronger than your average guy, but given the speed at which Superman appears to be flying, I would think the Dark Knight's arms would be ripped from their sockets!  But the Batman holds fast and gets one heckuva ride through the skies of Metropolis.  He suddenly gets a transmission from Robin, who is monitoring the situation while doing research into the possibilities of Superman's madness.  The Boy Wonder reports that he's isolated an unknown frequency coming from the Metropolis Observatory -- a transmission that seems alien in origin!  Batman orders him to jam it -- Robin, now sweating it hard, says he needs more time!  As Batman hears the plea of his ward, the centrifugal force from a direction change by Superman hurls his body against the side of a skyscraper.

Karen: Batman is one helluva tough guy, isn't he? But man, that's an exciting sequence! And the intensity of Batman's expression is terrific. I also liked seeing Robin, and in a very sensible role: providing tactical support.

Doug:  In the notes that preface the story, Ross remarks that he and Chip Kidd had discussed that this entire sequence should give readers the notion that they are on a rollercoaster.  I say -- success!


Doug:  We flash back to a time many years prior, in the Batcave.  Superman approaches his friend and confidant, holding a box.  He tells the Batman that inside the box is a means to stop him, should any of his enemies ever gain control of such a Super Man and use him for a weapon.  Batman opens the box, now obviously made of lead, to see a chunk of Kryptonite.  Superman remarks that he wouldn't have asked Lois to do it -- for she could not.  He knows that Batman, however, can.  Cut back to the present, where the pellmell flight continues.  Superman appears to try to shake the Batman off of him, turning at hard angles and flying near to the buildings.  Robin breaks in with another transmission -- his efforts to scramble or block the alien signal have failed.  And more... six stealth bombers are closing on the city.  Batman knows that the time is now -- no looking back.  As he draws the pistol from his utility belt, he thinks of an oath he took after the death of his parents:  no guns.  He thinks how ironic this is -- not even the Joker could make him resort to this action.  But a friend could.  He fires.


Karen: Kidd and Ross do an excellent job of ratcheting up the tension here -and the stakes: six stealth bombers -not fighters, bombers! Man, that seems like overkill. It's all up to Batman. The panel with Batman firing the gun, with his squinting eye just above the barrel, is perfect.


Doug:  Superman flies directly into an office, far above the streets of the city.  Of course, that means Batman is right behind him.  Batman scrambles to his feet and rushes to his friend's side.  He thinks that he has only 10 seconds to remove the projectile he'd fired -- a Kryptonite-tipped dart.  He pulls it from Superman's shoulder and sheathes it in a lead-lined sleeve.  He calls to Superman, who groggily reacts.  As Superman begins to stir, Batman removes a red suctioned transmitter from behind Superman's ear.  The work of Brainiac.  Batman asks Superman, now sitting, if he's OK.  Superman is weak from the ordeal, and from the Kryptonite that directly entered his bloodstream.  Batman muses, "I often wonder, Clark: Do you now what you are?  You are the original myth.  The one we'll always believe.  What would we ever do without you?"


Karen: Batman made sure his weapon was not too lethal. And of course, after saving his friend, the two go off to stop Brainiac (we only get one panel of that  but you know they cleaned his clock). 

Doug:  I loved this short story the first time I read it ten years ago (wow -- hard to believe I've had this book that long), and it's not diminished at all.  The plot and script are minimalist, and we're not really sure of the time in which it's set.  But what I love is we have a Batman untainted by Frank Miller, Bane, the "Death of Bruce Wayne", or anything else.  Dick Grayson is Robin.  And Superman?  Doomsday isn't even on the radar.  So this is an untarnished corner of the DCU.  Shoot -- given the way things are today, some new readers might think this is some sort of Elseworlds story!  But what I cherish the most is the characterization -- in word and movement and deed.  It's there.


Karen: I feel the same way. This is the Batman-Superman relationship I want to read about: one of deep mutual respect and friendship. Yes, they are very different, but essentially, their goals are the same. I miss this relationship.

Doug:  Before we part, it should be clear to everyone that Karen and I are unapologetically in Alex Ross's corner.  I received my copy of Mythology for Christmas the year it was published, and later in the spring was able to accompany a friend to a Ross gallery show in Chicago.  I took along my copy of Mythology and Alex signed it to me, on the frontispiece.  You can see that below.