Mark Waid brings his ambitious re-imagining of the Man of Steel's origin to a close with this issue, and it's satisfying conclusion that immerses itself in the ideals and symbolism of Superman. Waid balances the more modern sensibilities of the plotting with a strong sense of the genre's traditions, and I'd have to say the scale tips a bit further in favor of the latter in this issue. Fortunately, offering up some more inventive storytelling is artist Leinil Francis Yu, whose unconventional art brings intensity, energy and a freshness to DC's best known property and pop-culture icon.
Luthor's Kryptonian invasion force is exposed for the fabrication that it is, but that doesn't mean the corrupt tycoon is ready to throw in the towel just yet. His small legion of mercenaries from "Krypton" is each equipped with a small piece of Kryptonite in his armor, and it turns out that the radioactive element from the stars has another use: as an explosive. Meanwhile, as Superman recovers physically from the Kryptonite poisoning, he also discovers his public perception is recovering, as the people of Metropolis begin to view him differently.
When Yu first came to comics fans' attention, it was as an artist over at Marvel, where his work struck me as being the latest in a line of Image clones. Here, it's easy to see just how far his craft has come. His work is rich in detail, but he's willing to experiment, to present artwork that's not so traditional. His work here reminds me of Kevin Nowlan's style, but also of the angular exaggeration of Ted McKeever's work. Yu brings a dark intensity to the Man of Steel. Of course, I think some of the credit has to go to inker Gerry Alanguilan. His own influence shines through here.
I have to admit that I preferred the earlier issues in this series to the epic super-hero origin that arose toward the end. Waid's exploration of Clark Kent's initial steps into adulthood were far more grounded, offering a more personal look at the Man of Tomorrow. Still, that personal story comes full circle in this conclusion, as the climax isn't one that revolves around action, but focuses on a brief moment of sci-fi communication.
Despite what the cover says, this story isn't about how Superman came to be a hero. His good intentions and fantastic deeds cast him in that role. No, instead, Waid fashions a story that demonstrates how Superman came to be an inspiration, how he came to embody ideals and hope to the people of Metropolis. It makes for some corny moments, yes, but they're effectives ones as well. Waid uses Jimmy Olsen as the voice of Metropolis, and it's too bad, actually. Jimmy comes off as mature beyond his years. I think the words might have resonated more had an old curmudgeon like Perry White had been the one to embrace Superman as opposed to Jimmy.
