From the very beginning of Joshua Williamson’s Superman run, he has been exploring a new status quo for the relationship of Clark Kent and Lex Luthor, when the latter turned Lexcorp into Supercorp in a way of forming an alliance with the former to fulfil Superman’s hope of a better tomorrow for the world. As this unlikely team-up goes through the ups and downs throughout the series, especially when facing the likes of classic and new villains, Luthor goes through a change during the House of Brainiac event when he suffers from amnesia.
Following events like Absolute Power, it has been interesting seeing this new Lex Luthor who is rocking a beard and shows a more friendly side and would rather not remember being his old evil self. That is at the core of the volume, which begins with the Lex Luthor Special #1 as his daughter Lena and Mercy Graves have been trying to help recover his old memories and now Superman is hoping to do the same for Mr Terrific to create a device to monitor the Absolute Universe.
Jumping back and forth between the past and the present, connected by a piano that Luthor owns from his mother, this initial issue gives insight into how Luthor was always an outsider through his intellect that wasn’t always respected in the family household. As an amnesiac in the present, he is seen by the people of Metropolis as a menace, and even though Superman is about seeing the good in everyone, there is always the debate on whether Luthor can be redeemed after the heinous crimes he has caused.
While it was nice seeing a friendly Luthor, that wasn’t going to last forever, and Williamson reveals it in quite the dramatic fashion. One of the least favourite things from this run has been Supercorp itself as despite setting up one of the main themes that is Supes and Lex’s uneasy alliance, the numerous story arcs never showcased what a major shift the corporation contributed to the Man of Steel’s ongoing heroism. This is where we see what Supercorp has really been about, with Mercy Graves finally showing her cards and revealing the sinister plans that Luthor originated before losing his memory.
If Mercy can’t unlock Lex’s memories, she would have to unleash X-El, a clone of himself possessing powers similar to Superman. Issue #25 is one epic brawl between the Super Couple (Lois and Clark) and X-El, and thus you get multiple artists involved, including Jamal Campbell, Eddy Barrows, Eber Ferreira and Dan Mora. With that many artists, the transition from one to another can be jarring, but along with colorist Alejandro Sanchez, they all do phenomenal work showcasing the intense action that you want from a Superman comic. By the end of #25, Luthor with all his restored memories embraces the dark side again by making a deadly sacrifice that he deems the right thing, despite being sent back to Stryker’s Island Penitentiary.
The remaining two issues from this volume serve as an epilogue to the first two years of this run, in which we see the return of Pharm and Graft who trigger the Red Kryptonite inside Superman so that he goes berserk. Considering that the Red Kryptonite subplot has been teased throughout, it is a shame that Williamson pretty wraps it up in just two issues, which is probably due to what Superman as a character will be doing in subsequent arcs and crossover events. It is particularly disappointing that halfway through the volume that Lois Lane loses her powers and even though there is that possibility that they could come back, the decision to end Lois’ time as Superwoman at this point seems like a misstep.
What problems this volume has, Williamson is still killing it with his handling of Superman and his supporting cast, and now having wrapped two years of storytelling, the writer is now ready for a new stage in the Man of Steel’s adventures.