In 2011, *DC Comics* rebooted their line with the *Flashpoint* mini-series. Though there are frequently smaller "reboots" of certain parts of the continuities at both DC and Marvel Comics - in fact with *DC* initiating one such smaller set of changes with the *Rebirth* titles, there is rarely a resetting and re-imagining of the content on the order that *DC* introduced in 2011. In fact, the last such reboot of similar proportions (for *DC Comics*, anyway) was the GIANT crossover event that came to define "crisis crossovers" in the comics industry. That crossover event was *Crisis on Infinite Earths*, which ran from April 1985 to March 1986.
Anyone reading this may very well be wondering what in the world *Crisis on Infinite Earths* has to do with the graphic novel *Superman, The Man of Steel: Vol. 1*. The answer is simple. The events of *Infinite Earths* were explicitly put in place in order to streamline and simplify the very, very complicated *DC* "Multiverse" wherein many different parallel worlds and universes with different version of the characters from different eras existed. In essence, the door was to be shut on the Golden, Silver, and Bronze Ages of Comics. A new continuity was to be introduced. Many heroes had their origins, enemies, and so forth, re-imagined.
When it came to Superman, the job of re-imagining the Man of Steel for a new age was given to acclaimed comics writer John Byrne. The issues that make up this compendium being reviewed are the complete mini-series that Byrne wrote reintroducing Superman in his Post-Crisis persona.
Chiefly, different elements from the Christopher Reeve *Superman* films, and other sources were used, with a mind to have him be slightly different from his pre-Crisis identity. Now, this was not a difference at the core of who he was, but a difference that took all of these disparate ideas about his origins, and, in turn, put them together into one story that told THE definitive origin of Superman. Also of difference was that it was made clear that Clark Kent was who the man really is. "Superman" is a role he plays to do good, but it's *not* who he is.
The other characters also came across differently than how they were written pre-Crisis, but with their best aspects of previous ages intact. Lex came across as different, and a tad strange, to be honest. Some of his characterization in this story was eventually changed, though much stayed the same. The whole ruthless businessman that is the opposite of Bruce Wayne and Oliver Queen was created, and has been kept for a quarter century. Gone is "mad scientist" Luthor and to stay is corrupt businessman Luthor. He was also arguably more brilliant than before.
Lois Lane was more like her plucky, independent Golden Age self. A beautiful, intelligent, tough-as-nails reporter. Sure, she still needs to be saved, but not to the ridiculous degree she did in the Silver and Bronze Ages of Comics. Just look at some of her exploits where she kicks butts and takes names in the Classic Fleischer Superman cartoons, and know that the then-new Lois made that Fleischer Lois look like a wuss. Batman was different as well, as they kept the traditional "smart-guy and meticulous planner" aspects of his many renderings of previous years, while dropping the more silly stuff.
A character of interest to me was that of Lana Lang. At that point, she was based - it seemed to me - on the Annette O'Toole version in *Superman III*. The version then was far, far superior to the modern version that either inspired or was inspired by the *Smallville* television show. Thankfully, as of the "New 52" reboot earlier mentioned that began with *Flashpoint*, she is being reverted to that earlier version from the 1986 John Byrne re-imagining. And this is completely for the better. As you can tell, I rather liked this version of Lana Lang with the sillier stuff dropped, but still a good character, not the more anti-heroic character of recent years in comics and on *Smallville*.
In fact, saying that the comics writers "dropped the sillier stuff" is a good description of this period post-Crisis. Arguably they went too far eventually, giving us the reviled and pathetic "Dark Age of Comics" with moral myopias and no true heroes, but that is a topic for another day, and a few years down the line from this point in the mid '80's.
The art here is nothing to write home about. While other comics, such as Star Wars under Marvel (as it wound down no less), and the post-Crisis Batman books were beautifully rendered, this was typical, average fare at best. But the story, however, was good, and was the strength of the volume. While maintaining the goodness and wholesomeness of the previous renditions of Clark Kent, this version was different, and has him growing into the role. It wasn't the ease with which he grew into his role previously. He had a harder, and more uncertain time of it.
I can't recommend this enough, not just for those who want just a good, fun, comics adventure, but also for those who are interested in reading a fundamental piece of the *Superman* mythos.
Rating: 5/5 Stars.
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Kieran J. Mcandrew
Superman Begins Again
Reviewed in the United Kingdom on September 1, 2020Dominik
Best version of Sup crafted by Byrne
Reviewed in Germany on February 11, 2018Alan H
Great condition. Pages are newsprint like comic books of the past.
Reviewed in Canada on February 15, 2019