Louise Simonson

In the early 1990s, comic book writers decided to kill off Superman, knowing that it would allow them to sell a bazillion copies, even to schmucks who don't buy comic books. Rather than have someone awesome kill of Superman, like Lex Luthor, they decided to invent someone totally lame to do it instead. Meet the Darth Maul of the DC Universe: Doomsday.

We're introduced to Doomsday as a big green fist smashing its way through a wall. The best part of this is that breaking your way out of a show more subterranean capsule apparently makes the sound effect KRAAKK! KARAAKK! KRAKA-DOOM! I hope someone out there is collecting the stupid textually-represented sound effects comics are filled with; this one deserves to be on the list. As the issue's main plot progresses, we get little snaps of what this gigantic fellow is up to. His first act of violence? He kills a bird. Exactly how this is supposed to establish him as a threat is beyond me. "Oh no, how will Superman defeat the horrendous... BIRD KILLER? He has the power to crunch two-pound lifeforms with his bare hands!" He can also fell trees.

After that excitement-filled, opening, we cut to an orphan kid buying spraypaint in a hardware store. Apparently, his mother's been kidnapped by a gang of thugs looking to "steal electricity". Lois Lane gets some sort of tip, and leaves Clark a message on his computer. "Very high tech of her," comments Clark when he shows up at work. I think this is sort of putting paid to the notion that this story somehow takes place four years ago as DC's current timeline would claim. The underground monsters end up stealing Metropolis's electricity, but Superman defeats them fairly easily. They're lead by a scruffy homeless man named Charlie who's actually working for Superman in any case; we're not exactly talking about a strong opposition. They come from a place called "War World"; no one ever bothers to explain why they're hanging out in the sewers or what they're going to do with their electricity. Superman leaves Charlie in the sewer in the end, because homeless people can't aspire to live better lives.

After this thrilling adventure, we cut back to the monster thing, who has just attacked a tanker... in Ohio! Apparently the monster thing came from Ohio. This makes me mildly better disposed towards him. Actually, I think this is the first time I've ever seen Ohio in a superhero comic. I bet he comes from Cleveland, though. The Justice League has been called in to deal with the tanker fire, as apparently they don't have firefighters in the DC Universe. An officer of the highway patrol thanks the Leaguers for helping out: "I'm well aware that Ohio is out of your normal area of jurisdiction--" What! I'm pretty sure this is set during the era when the Justice League was all "International" and worked for the UN; is Ohio not a UN member?

After the monster kills a deer, the Justice League springs into action (in Blue Beetle's totally awesome flying beetle) and combats him. They catch up to him outside Lex Oil's Ohio facility, where they are trounced pretty easily. Superman ditched a TV talk show where he's been doing an interview and flies to the rescue. "How could one man stand against the whole League?" he thinks. Whoa, slow down Superman. It's not like Wonder Woman, Batman, or even the Flash are part of the League now; we're talking about Blue Beetle, Booster Gold, Bloodwynd, Fire and Ice, Guy Gardner, and Maxima. These aren't exactly heavy hitters. Guy, as much as I love him, is in one of the periods where he's been kicked out of the Green Lantern Corps, so he's dressed even worse than usual, and I'm pretty sure I could take out Blue Beetle. And I've never even heard of Bloodwynd or Maxima. This comic doesn't exactly inspire me to want to know more about them, either. I'm pretty sure Maxima's power is being stupid. And having an invincible midriff.

Superman finally shows up after half the League has been incapacitated. "I'm telling you, right now--" says Booster Gold "--it's like doomsday is here!" Yes, Booster, I can certainly see how wiping out a tanker and an oil facility would make this the biggest threat the League's ever seen. For some reason, Superman decides that "Doomsday" must be the monster's name. Not good with comprehension, our Superman.

It's the early 1990s, so unfortunately about half of Superman's opening battle with Doomsday is intercut with a long-haired teenager with attitude who hates his mother. Superman hates this kid even more than I do, however; when he's trapped in a rampaging inferno, Superman flies away, thinking, "I have to... block out that plea for help!" What a nice guy.

Superman decides that even if the whole Justice League couldn't take Doomsday down, he can. He's got a point. Superman refers to the monster as "Mr. Destructo" at one point; I wish that name had stuck instead of "Doomsday"; it would have given this story the gravitas it deserves. We learn that the battle is occurring in "Kirby County, Ohio"-- there's no such place, though Wikipedia informs me that there is a "Kirby, Ohio" south of Findlay. On the other hand, Route 110 runs through the area, which is actually an 11-mile state highway in Henry County, west of Bowling Green. The governor of Ohio is mentioned; during this time, that would have been George Voinovich. The lieutenant governor actually particaptes in a phone conversation, where he is repeatedly insulted. Poor Mike DeWine.

For some reason, there's a sequence where Jimmy Olsen is dressed as a giant turtle. Then, a news anchor informs us that "It appears 'Doomsday' is on a straight path crossing from Ohio through New York State... Some theorize that the creature is on a straight course to-- or through-- Metropolis." Apparently, the news has magically got wind of Superman's misbegotten nickname for the creature. And Pennsylvania does not exist in the DC Universe. Thank God.

Superman fights Doomsday by a gas station. Can't anyone ever catch up to this guy not in proximity to flammable materials? Now we learn that the gas station is in "the village of Griffith in upstate Kirby County." Doomsday must be fluctuating the fabric of space or something, because Griffith is in eastern Ohio, nowhere near Kirby or Route 110. Alarmed by the fact that the writers don't know a thing about geography, Jack Kirby's Golden Guardian shows up. Now, I like random appearances by Fourth World characters as much as the next guy, but all he does is talk to Superman and telepathically commune with Dubbilex. Thanks a lot, dude.

All of a sudden, Doomsday's attacking a Lex-Mart in Midvale, which is about fifty miles northwest of Griffith. So much for his beeline towards Metropolis. And "Lex-Mart"? Are there any other megacorporations in the DC Universe? At the Lex-Mart, Doomsday watches an ad for a wrestling match at the Metropolis Arena. Why wrestling matches an eight-hour drive away are being advertized on this TV station is beyond me. Doomsday is intrigued by this ad and decides to head for Metropolis... despite a reporter telling us fifteen pages ago that he was heading straight towards it.

Superman and Doomsday continue to punch each other a lot. This has been going on for about fifty pages, now. I'm starting to miss the sewer folks. They might have been stupid, but that made them entertaining. Doomsday is pure tedium.

More proof that it's the early 1990s materializes with Lois Lane's awful aviators and Lex Luthor's long, flowing locks. Since when did Lex Luthor have hair, anyway? Or hang out with Supergirl?

Doomsday looks at a sign and learns that he's only sixty miles from Metropolis. Which would place him and Superman somewhere in New Jersey, I think. What the heck? What happened to Midvale? Or all of Pennsylvania, for that matter? If you're wondering why I'm focusing on the geography so much, it's because it's the only interesting thing happening here. Unless you count Superman and Doomsday throwing each other at things again and again. Including the Wild Area, which is a giant treehouse outside of Metropolis. Why wasn't this retconned out of existence during the Crisis? The Golden Guardian is still tagging along, still doing nothing. He finally decides that Doomsday is too big for Superman to handle alone... and promptly never appears in the story again. Way to go, dude.

It wouldn't help much, though. Supergirl attacks Doomsday and gets turned into a featurelss purple thing with googly eyes. I don't know what kind of punch can do that, but it's one I'd stay away from.

"This insanity ends in Metropolis!" Superman shouts outside of a Lexpark Garage. What, were the geographically confused inhabitants of Kirby County, Ohio not worthy of your best efforts? I guess not-- Ohio's not part of the UN after all.

As sensitive as ever, Jimmy Olsen (thankfully not dressed like a turtle) is excited that Doomsday's killing hundreds of Metropolis residents because it gives him some good photographs. No wonder he can't ever get a girlfriend.

Superman's cape is torn off and wraps itself around a convenient wooden pole.

Superman and Doomday punch each other for a series of one-panel pages. Superman takes one in the jaw. "Bony protrustions... so sharp.. he cut me!" he shouts. Yes, my natural reaction getting punched is also to describe the punch.

PUNCH PUNCH PUNCH PUNCH PUNCH PUNCH. PUNCH. PUNCH.

Finally, Superman decides to punch Doomsday really hard. Hard enough to kill him. Why didn't he think of this earlier? I don't know, but it's too late. Because he dies.

The narrator tells me that everyone will remember this day for years because Superman dies. He doesn't bother to mention that he only stays dead for a few months. Personally, I wasn't crying; I was rejoicing. Because the whole mess was finally over. show less

Okay, so I had Bardugo's story on my NOOK (it was on sale!) and on audio CDs (it was a gift); yet, I just couldn't get any energy to open the book/CDs and start reading. So when I saw there was a graphic novel form of the story at my library, I snatched it up - boy I was glad I did. To be honest, I think I would have DNF'd it if I read the book; the story is just not enough to warrant 360+ pages of words. Yet, with this adaption, I think the story shines and keeps the plot moving.

Diana is a show more teenager living with the Amazons, yet doesn't feel she measures up in their opinion, so she works herself into an obsession of winning some foot race. During the race that she can clearly win, Diana abandons the race completely to save a girl from drowning when the ship she was traveling on explodes. Alia is not like other girls - she is a descendent of Helen of Troy and is a Warbringer. This is news to both Diana and Alia and they go on a journey with some of Alia's friends to find "the cure" to Alia's "condition". Turns out not everyone on the journey is down for the specific mission and the betrayal comes swiftly but not surprisingly. Diana not only has to protect Alia but also the world from this betrayal.

I loved Alia and Diana, but my favorite character was Nim! She was the comedic break, the fashionista, the best friend, the life of this story. Nim needs her own story is what I am saying. The story is typical of young character goes on a mission to save herself/the world, but the characters are what makes the story engaging; I felt for Alia as she learned more about what she is and how her family works. The artwork is fine, but falls flat due to muted and washed out coloring. The characters are very distinct and their visual representations really fit into the personalities. There was racial and sexuality diversity without trying to shoe-horn the diversity into a message.

I am not going to bother reading the book since I felt I got enough out of the graphic novel adaption. Also Nim needs her own comic series. show less

No sé si fue la historia o el protagonista, pero no me pareció nada especial. Imagino que el impacto inicial de la muerte del más grande superhéroe de la historia debió ser importante, pero ahora podemos verlo con la cabeza fría. Superman es un personaje aburrido y unidimensional, la historia parece forzada y sin sentido. Y esto último tiene (según) su justificación, ya que los escritores mataron a Superman porque las ventas de sus productos bajaban en ese entonces exponencialmente. show more La idea resultó, y éste es uno de los cómics más vendidos de la historia. Entiendo que sea un clásico, pero no le veo lo grandioso. show less

It turns out that Superman really isn't dead after all. Please, act surprised. This collection tells of his return to life in an absolutely huge book containing twenty-two individual issues. You can't get that for $19.99 anymore; these days DC would turn that into four (hardcover) trades at least. Of course, Superman doesn't do things by halves, he does them by quadruples-- if he comes back from the dead, he's going to do it four times.

The first half of the book or so focuses on each of the show more four Supermen in turn, trying to avoid a commitment to any one of them actually being the real Clark Kent. By far my favorite of these was John Henry Irons, who is the only one who doesn't try to pretend to be the "real" Superman. Irons is a man whose life was saved by Superman who build himself a suit of steel to fill the gap left when Superman died. Because, despite World Without a Superman going to great pains to show how Supergirl, Guardian, and Gangbuster were successfully filling that gap, no one at all is doing a thing about it here. Irons goes by the moniker "Man of Steel" and spends most of his time fighting some woman who I guess is supposed to be sexy but is in the issues penciled by Jon Bogdanove, so she just looks stupid. Like everyone he pencils. I say I like the Man of Steel the best, and of course I do-- he's being Superman for all the right reasons: it's the right thing to do. Except he's also trying to atone for his past as a weapons developer, now that his super-awesome weapons are being sold to Metropolis gangs. He feels a lot of guilt over this, because apparently street gangs just wouldn't commit crimes if they couldn't gain access to guns called "Toastmasters". He's pretty much an Iron Man rip-off now that I think about it, except that he's not rich, alcoholic, or Republican.

Of course, you pretty much have to like the Man of Steel the best, because the other Supermen aren't up to much. Next most sympathetic is Superboy, a clone of Superman created by Project Cadmus, despite the fact that in World Without a Superman they were stopped from creating a clone by Guardian and the Newsboy Legion. Really, just admit none of you read the stories each other write, guys. Anyway, Superboy is cloned with an earring, sunglasses, and a leather jacket, which tells you everything you need to know-- he's a self-centered 1990s teenager who is about as appealing as Superman as a dead rat. Fortunately, the book doesn't even try to convince you that he's the real deal; he just spends a lot of time flirting with a terminally stupid Asian reporter.

And then there's the other two: the Last Son of Krypton and the Man of Tomorrow (a.k.a. the Cyborg Superman). Perhaps the book's biggest failing is that it never really tries to convince the reader that these two might be the real deal. The Last Son has some good sleights-of-hand to show how he could be the real Superman in practical/plot terms, but there's not enough character work to support that. An attitude more like Superman's, or some moment of connections with his "old" life would go a long way. Guy Gardener likes him, which isn't exactly a vote of support either. And despite the excellent "Prove it" chapter where the Cyborg Superman saves Bill Clinton from an improbable assassination attempt, you never really believe in him either.

But perhaps that's the point. Three of these characters have the Superman powers and logo and modus operandi, but they don't have the Superman essence. And this book is about what makes Superman who he is. He doesn't believe in power above all, he doesn't believe in self-aggrandizement, he doesn't believe in unnecessary lethal force. He believes in doing the right thing. And that's why Steel is the closest any of the characters come to being the "real" Superman, even though he doesn't have the powers in any way, shape, or form. And as the story goes on, the Last Son of Krypton (revealed to be a guy named "the Eradicator" that you and I have never heard of in a humongous and clumsy backstory dump) learns this and begins changing his ways, ameliorating his actions so that he's more like the real Last Son.

(Oh, and Bibbo Bibbowski shows up again, goddamnit. He doesn't say "Sooperman" at least, but we're still treated to "you were my fav'rit!" I'd take even Superboy over this guy.)

Of course, the Cyborg Superman knocks himself out of the running by turning out to be Secretly Evil. He's another guy you and I have never heard of, an astronaut or something who hates Superman for reasons none of the main characters are ever told; there's just an entire issue given over to two comedy aliens telling each other convoluted backstory. Oh, awesome. And he's working with Mongul, an intergalactic criminal whose power is being a lame version of Darkseid. Despite this not-quite-winning villain combination, the second half of the book, where the Cyborg and Mongul unleash their plan and destroy Coast City (poor Green Lantern, his hometown wiped out in someone else's comic), is very good.

The real Superman makes his way back to Metropolis, low on power, but determined. He's Superman, you know? He's not going to stop, even if he doesn't have the powers all the other characters do. Of course, he's got long hair and wears black now, but I guess you can't have everything. His return leads to my three favorite moments of the book: the first is when Superboy, inspired by the real deal (I am getting tired of this phrase) diverts a missile headed for Metropolis, apparently at the cost of his own life. Even though he obviously lives through it, it's a powerful moment, as Superboy struggles and struggles to do what has to be done.

The other highlight is when Superman and Steel battle their ways through Engine City. I dig two-men-with-virtually-nothing-against-all-odds stories, and they're even better when the two men are as awesome as Clark Kent and John Henry Irons. (Supergirl's there too, slowly de-laming herself, but who really cares about her?) And then the Eradicator shows up again and--

I like the idea of the ending-- the Eradicator understanding the "true" meaning of Superman's legacy and gifting Superman with power once more-- but its execution is a little clumsy, I have to admit, as not even the characters have a good reason for why Superman's powers came back. And then the way Superman disposes of the Cyborg is kind of lame. But then, there's the third favorite moment: the double-page spread where Superman really, truly, actually is back. Oh yes!

The art is typical superhero comic fare, usually fine except when Bogdanove is drawing. I wish there was a consistent feature to Maggie Sawyer between artists aside from "lesbian haircut", though.

Like all the best Superman stories, this book is about what it is to be Superman. And with some well-crafted character moments (Lois especially shines in this book) and some strong heroic ones, this book stands as the crowning jewel of the death/rebirth trilogy. Not everything's perfect here, but the book works more often than it doesn't, the second half especially. show less