Back to Blog
Kal-El quickly makes a bond with the child, and teaches him english within a couple of hours. It’s a little touching, but nothing too extravagant. No tissues needed.
When the government shows up, Supes doesn’t fight them, but instead he ushers the kid into their custody willingly. Shame on you Clark, your trusting nature really gets you in some predicaments on occasion.
At first, the government scientists play by the rules and no foul play is expected. That is until Superman shows up the next morning, and the whole operation is gone with the wind. And frankly Superman truly does give a damn!
After an intense interrogation scene, Superman finds the child and decides that he, along with Lois, is where the child should take refuge. The government obviously has no say in the matter anymore.
Soon after the rescue, we have another touching moment of Kal-El teaching the child to fly. Oh yeah, and he finally names the kid Chris. Real clever Donner. The art style didn’t suggest Reeves enough for you, huh?
The happy reunion is shortened when the one and only, Bizzaro, crashes the party. This fight ends up playing out more like a Richard Pryor movie, than anything involving Mr. Schwarzenegger. That’s not necessarily a bad thing, since Bizzaro isn’t actually the big bad here.
If anything, it breaks up the Family Ties moments which are starting to get a little stale by now.
During this comedy routine, a few other ships land in a body of water near Metropolis. It’s never revealed why these ships touch down so nicely, while the original ship came in like a hurtling comet — I’m guessing it is for convenience of plot.
Seen emerging from one of these ships, is the infamous General Zod. Along with him, are a couple of right hand lackeys, that really only serve to keep Superman’s hands tied at key moments.
General Zod and Chris Kent apparently have a blood bond that isn’t too hard to guess. In fact, if this was a movie, they might even reveal it in the trailer.
When the details of their relationship and how they ended up on earth relatively around the same time are dispersed, the plot becomes quite convoluted. To make it worse, they make the mistake of telling, instead of showing. That’s to say, mostly text and very few pictures.
If they stretched this explanation over a couple more panels, and turned the paragraphs into sentences and dialogue, things probably could have worked out a bit better. I’m not saying to dumb it down really, just a few more moments of clarity are needed.
As our story reaches it climax, everything isn’t tied up as neatly as they should be, and the whole story suffers for it. It makes everything that happens rather forgettable — and ultimately just a throwaway adventure for our hero. There are plenty of things ventured here — but I dare say — nothing is truly gained.
In the graphic novel, this story is followed by a much better story simply named, Brainiac. There is no surprise as to who the main antagonist is here, and he isn’t as overused as the uninspiring General Zod.
Brainiac has been turned into an animated movie under the name Superman: Unbound. On the other hand, Superman: Last Son of Krypton hasn’t had much in media reference as a standalone story. That alone should speak volumes.
But maybe there is something down the pipeline I don’t know about. You never know with merchandising and franchises these days.
Obviously, this is my interpretation, and yours could vary dramatically. Give it a read. After all, it isn’t a complete waste of time. You might even get a chuckle out of the antics of that sad sack, Jimmy Olsen. The poor guy loses a camera this time around, missing the perfect shot of those beautiful red trunks — oy vey.
Back to Blog
It isn't until more than half of the League is beaten that Cat Grant's interview is interrupted and Superman is filled in with the details of all the chaos. So, you mean to tell me that with his super-hearing he couldn't tell that something was going awry? And don't his teammates have some sort of distress signal to let him know everything is hitting the fan?
I guess I am being a little harsh here. Truthfully, watching Doomsday wipe the floor with a handful of heroes is quite exciting. These guys go all out to make an impact on stopping the beast, giving split second decisions in order to save as many civilians as possible and not backing down even when it is apparent they are fighting a losing battle.
Finally, Superman appears on the scene and it is obvious he isn't in any mood to play. Doomsday goes straight in for a gut punch and Kal-El takes it in stride. It appears like the tide of the battle might actually be going to turn for a second. But suddenly, Doomsday cuts loose with a swift kick knocking Supes clear through a nearby house from the front door through the backwall.
This shows the actual strength of our villain. Sure, he can knock around a few demi-gods and humans in super-clothing, but now we know this guy doesn't need any sort of kryptonite to take down DC's grand champion.
Fists, feet, and wrestling moves are thrown one by one. For every hit Superman lands, Doomsday follows up with one of his own. After already a handful of issues in, you would think this behemoth would be getting tired or maybe a least bored, but that isn't the case here. The more the fight is brought to him, the more he gives back.
The battle eventually makes its way into a random superstore, where Doomsday is mesmerized by the latest and greatest, high-tech televisions. Well, not really, instead a commercial catches his eye advertising a "King of the Ring" type wrestling match.
I'm not sure how this monster is able to understand a commercial spoken in a language that we have seen no proof he has even heard of before this day, but he manages to get the most important information. Yes, you guessed it, the event will be taking place in Metropolis.
This scene sets up the destination of the final round of this slugfest. I must admit it comes off a little cheesy to me. A savage creature being swayed to come fight a couple of professional wrestlers. It seems kind of limiting to the brainpower of Doomsday. Maybe one of Superman's punches knocked something loose after all.
After lending a hand to some nearby civilians, Superman catches up to Doomsday, who's still inside the store. Sick of the destruction, he soars into a flying tackle, hoping to end this once and for all. The joke's on Supes, when instead he is hit upside the head by a bus thrown from his enemy.
When the dust clears, a sign is seen in the background. It reads: Metropolis 50 Miles. A mumbled line from Doomsday makes it obvious to Superman where he intends to go. Now the gloves are off, and Superman attempts everything in his power to upend the unstoppable force headed towards his home.
Superman has run out of backup and his strength wears thin. It all comes down to one last blow. The world collectively holds its breath while the fate of these two god-like beings unravels before their eyes.
Hearts stop beating. All is silent. Our story reaches its end.
The Death of Superman is one hell of a fight. It never lets up, and everything, for the most part, works well. If I have to nitpick anything, some of the scenes get a little redundant with multiple explosions, vehicular destruction, and the murder of some wildlife. But most importantly, the story is ultimately satisfying.
The writers could have easily slopped together some hair-brained scheme, derived from the mind of one of Superman's top villains. Instead, they took a chance by introducing someone new to the stage, and I believe their gamble paid off.
My hat is off to everyone that played a role in the creation of this masterpiece. The story segues nicely into the next arc, Funeral for a Friend, which deals with the "reality" of a world without Superman. That of course, eventually leads us to the....wait for it.... resurrection of Superman, but I'll get to that some other day.
Back to Blog
Back to Blog
Back to Blog
Back to Blog