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First thread of 2021! Let's talk about All-Star Superman!
Talking about this book is something that genuinely intimidates me. I talked about it in my AC thread. It's The Superman comic. To many, it's The Morrison/Quitely/Grant comic as well.
But you know what? Obsessing over trying make something perfect usually leads to me doing nothing at all out of frustration. And this book is too beautiful a work for me not to discuss with you all out of fear of not delivering a perfect analysis. So let's get started.
First, let's talk about the cover of issue 1. It's such an iconic image. Quitely capture so much of what makes Superman special. The outlandish visual of a man sitting and relaxing on the clouds. The way Metropolis sprawls, and seems unending.
Jamie Grant's colors are gorgeous. The division the Sun's light creates between the sky and Metropolis. The little highlights in Clark's body showing where the light is hitting him.
The warm glance and smile Clark's showing to the reader. It's like we interrupted him observing the city he protects, but we're not bothering him. He's amused to have company here, up in the sky.
Also, interesting that the two cover images used to open up the story, are also the least chaotic ones. Every other cover is either Clark and the others are in the middle of an adventure, or in some moment of somber reflection.
These do a great job at welcoming us to the world this story will take place in. Immediately establishing Superman as a larger than life figure, with an ever expanding world to match him.
The first page gives maybe the most succinct summary of Superman's origin. Four panels highlighting the fundamental beats of this powerful story.
Quitely and Grant rendered gorgeous visuals here. My favorite detail is the contrast between the panels showing the Els and the Kents.
The former are being engulfed in Krypton's chaotic fire, their faces darkened and sad as they send their son away. The later are in a more serene setting, looking in awe and with loving eyes at this child who has no one, illuminated by the Sun and with clean skies behind them.
Writers going back to Superman's origin used to be something that annoyed me. But nowadays I see that it's such an interesting story. It's beautiful, tragic, exciting, melancholic, inspiring, somber.
It's a powerful tale with so much potential to it. That captures the imagination in a way, that I imagine that almost everyone who works in creative fields, must have their own take on Superman's origin.
Then we get our first image of Superman and it is outstanding. Even before his powers are elevated, Clark is presented as the godly Solar Hero. Flying around the surface of the Sun no differently than he would in our blue skies.
It's another gorgeous image by Quitely and Grant – there's a lot of them in this book –, love the Kirby crackle effect of the solar flares, the way Quitely portrayes the surface of the Sun as this bulbous kinda of thing.
Also, the way Jamie Grant played with the yellow and whites in the page to create the lighting around Clark is just *chef's kiss*
We get our first glimpse of Leo Quintum. Presented to us as a brilliant, but arrogant scientist who's plagued with tunnel vision, and who puts himself in a situation that's way over his head. Does he remind you of anyone?
I love the horror vibe that the mission to the Sun has. The rendering of the astronaut's transformation – Quitely has a great touch for body horror – paired with the claustrophobic nightmare of being trapped with this monster in a spaceship that's next to the surface of the Sun.
Ma'am, you are gorgeous!
I love the colors Jamie Grant uses in the P.R.O.J.E.C.T. scientists. There's something almost electric to it.
I love the colors Jamie Grant uses in the P.R.O.J.E.C.T. scientists. There's something almost electric to it.
Also, love the contrast between the Clark's image in the double spread with these four panels. The details of his face scrunching because of the strain he's going through to arrive as fast as possible to the shuttle is great.
The Daily Planet crew are a fundamental part of this story. And I really like how our first look at them is kinda of crude, with Cat ogling the window cleaner and Lombard being Lombard. It creates such a human environment in comparison to what we just saw in the Sun.
Jimmy arriving at the Daily Planet via jetpack is significant. Because Jimmy is the person in Superman's supporting cast who serves as a bridge between the everyday life of Metropolis and the fantastical of Superman's world.
Grant Morrison is one of the best Perry White writers out there. Perry keeping tabs on Luthor to make sure the Planet would be able to bring him down when he shows his true colors is great.
Lex Luthor made the perfect plan to kill Superman because he noticed a few aging lines in his face. Having to accept his own mortality – something every human being goes through – is the lynchpin for Luthor's Ultimate Kill Superman Plan. It is so petty, so perfectly Lex Luthor.
And as you expect, the military is stupid.
There's something so palpable about the way Quitely and Grant render Clark in this page. He is the massive wall of a person, but his expression is warm.
I also love how his first line of dialogue is one of defiance against the evil of The Bomb.
In the first issue Superman defeats The Bomb. Morrison has Superman destory the idea that tormented their nightmares in the first issue. That says so much about they're ambitions with this story. How they're trying to elevate the character to a truly mythical level.
One if the defining aspects of Morrison's Superman work is the idea that "Superman saves the day", no matter if it's impossible, Superman will persevere. Clark's new powers illustrate that. His body literally creating new abilities so he can be victorious.
I'm surprised Morrison saved a modernization of the DNA P.R.O.J.E.C.T. for so long. As you expect from them, the military aspect of the concept is completely wiped out and reworked, focusing more on the use of super science for the betterment of humanity.
The way Clark reacts to the news that he dying is very somber. It raises interesting questions about who he is. Specially: How much of it is him trying to remain calm as to not scare the people around him with the possible inevitability of his death?
For all that All-Star is praised as a "Optimistic Superman story", Clark himself is a very somber figure in the first issue. Fully accepting the possibility of his death, the need for his replacement, and that he has the responsibility of preparing the world for his departure.
Frank Quitely's Clark is so wonderful. The care put in the little ways he slips in and out of the role of "Bumbling Clark Kent" are just beautiful.
And we see that as Clark he expresses his fears and anxieties towards his own death. I do like that the way he talks about it is akward, like he doesn't really know how to put those worries into words.
Also, there's going to be a lot to criticize about how Lois is handled in the story, but these are some prime Lois Lane dialogue.
Also, apparently Lois is Latinx in this book.
How 'bout we close this one discussing a theory? The idea that Leo Quintum is a time travelling Lex Luthor who's trying to atone for his mistakes. It's something that everyone, except for Morrison, kinda of accepts.
There's plenty in the book that hints to that idea. Like the "Lex, are you talking to yourself again?", as Lex has the scientist attack Quintum.
I don't think about the theory that much. It's not something that informs my reading of All-Star, but it does connect into a lot of the themes of the book. Specially the inevitability of death that push Lex into motion, that then pushes Clark.
It tells an almost equally somber story alongside the inevitability of Superman's death. That Lex will always have a role in killing Clark. That he learned his lesson too late, that you can't really turn back the clock.
The covers of this series are excellent. Love the horror vibe on this one. It looks like the poster for an alien abduction movie, which is a very interesting choice giving all that this issue says about the Lois and Superman relationship.
Having Lois being pretty much offended with the reveal of Clark's identity is a very interesting subversion of what you would expect of this moment. Because no matter how much he says it's to protect her, it means that for years Superman lied and led Lois on for years.
This issue is all about Clark's being too wrapped up on his own head, his inability to share his real feelings with the people who love him, and how that hurts them.
The Fortress itself is a great illustration of that. For all that we see Superman as the warm superhero who shares his best with us, he has a lot of worries and anxieties that he refuses to share, even with those closest to him.
Just the fact that it takes Clark starting to die for him to bring Lois to the Fortress says so much about how closed off he can be.
And this is one of the most interesting uses of the Fortress I've seen. It's such a great visualization of Clark's relationship with his own emotions. And impenetrable castle that only he has access to. It emphasizes the "Solitude" aspect of the place.
This double spread of the Fortress' interior is gorgeous. I always prefer it when it's a busy place. It where Superman goes to have some alone time, it should look cool!
My favorite part might be the chess board with the statues. It's a classic and I love it.
My favorite part might be the chess board with the statues. It's a classic and I love it.
Having Lois voice her own anxieties over her relationship with a solar god is very important for how Superman – and they're dynamic – is presented in this issue.
There's a lot of humanity to Lois' questions here. From her wondering if Clark will propose, to the very obvious one of how will he see her after time passes for both of them. To even questioning how seriously he takes their relationship.
How much Lois' character and role in the story is entirely defined by her romance with Superman is a fair criticism to how she's handled in All-Star. But I think it works here since she's running down the possibilities in her mind to get to the truth.
Also, first person narration is something that's present only in a few issues of All-Star, and it's often used to voice the characters' insecurities. Lois is the only other character besides Superman to get it.
Also, I love the almost fairy tale idea of giving singing flowers as a gift.
Something important to note is that even though Clark revealing his identity and taking Lois to the Fortress should be a massive step forward for him, it's cut short because all he manages to talk about is his achievements. He doesn't truly let Lois in.
He uses Lois' birthday as an excuse not to tell her, but It's easy to see Clark is scared of sharing his fear of dying with her. The idea of telling someone you love that you're dying, and that's nothing you can do about it it, not matter how powerful you are, is terrifying.
I really appreciate that because much as Morrison is trying to elevate Superman to a mythical status, they give the character reactions that are human. They write Superman as a person.
The sequence with the Mirror of Truth is curious. It shows Superman as "The Truth", but we saw in the previous that it's through Clark Kent that he expresses his true feelings.
Maybe since his death is inevitable, Clark has to accept that his identity as Clark might die much sooner. What do you all think?
Lois' reaction here is the right one. She just discovered her significant other has been lying to her about who he is since the first time they met. And when that person is the most powerful being on Earth, that suddenly becomes an even more terrifying thing.
There's also this condescension from Clark. He assumes that Lois would be happy over him giving his secret to her on a silver platter. He asks that she trusts him, without giving her much reason to, beyond "I'm Superman."
It brings up interesting question about just how much leeway should Superman get because he is Superman. How many secret does he gets to keep from the people he is intimate with – and those who aren't – just because he saves the world on a daily basis?
And because I'm not complimenting the artwork enough. Love how Quitely and Grant portray Lois' vision altered by the chemicals.
This brings up the possibility that maybe Lois could never love Clark like she does Superman. That she might doesn't want to accept that there might be something flawed and human in his core. But it's also where she starts spiraling, so I don't know how much that tracks.
Morrison is an excellent horror writer. The way they put us in Lois' head, make the Fortress into this sterile, bizarre and terrifyingly alien place is fantastic. It turns the awe inspiring element of the whole concept on its head.
It subverts Silver Age Lois' dream of being Mrs. Superman too. Making the idea of having children with Superman into a something out of horror movie.
Love the artwork in this page. Clark's calm expression after being shot in the chest with kryptonite. The green smoke from the blast. Lois wide eyed stare after realizing what she did. It's great.
Important to point out that things didn't get solved in the end of this issue. All of Clark's emotional problems, and how they affect his relationship with Lois, haven't been dealt with. They just jumping from one crazy situation into another.
Hey, can we talk about how good Quitely's take on Superman's costume is? I love all the bits with segments, like the trunks and the boots. And I love the shorter cape that's tucked into his collar.
Lois getting powers and adventuring with Clark for a day is a great concept. This issue unfortunately doesn't explore that idea in the most interesting way. I wouldn't say Lois completely wasted – the last few pages are beautiful –, but she does fade too much into the background.
The issues goes from being about Lois stepping into Superman's world for day, to being about Clark dealing with two jackasses who won't leave them alone. Which isn't exactly the most interesting thing to see.
There are interesting themes explored in it. This issue is all about Clark dealing with relics of the past. With Samson, Atlas, Krull and the Ultra-Sphynx being champions of times past.
Krull can be just a big lizard the heroes punch really hard. But the little bit of context we see for him speaks to the idea of things that endure the test of time. And what that might say about Superman's myth.
Also, this line is a really good contrast between Clark and the champions of the past. Superman goes for the diplomatic solution, respecting the Subterranosauri's society and meeting them at equal footing. He doesn't seek conquests or feats.
The Dino-Czar's line is interesting too. I don't think the takeaway is that Clark goes out of his way to intimate these people, but that different societies interpret symbols in different ways. So one that's defined by its endurance, would respect Clark's physical strength.
Let's tackle Samson and Atlas. Pitting Superman against mythological strongman as a way to contrast his form of heroism with the ancient, hypermasculine, self-aggrandizing represented by these two is golden.
But framing that by having Superman be jealous of his girlfriend is less interesting to say the least.
Personality wise, Samson and Atlas range from musclebound dudebros, to extremely stupid douchebags who put the people around them in danger because of they're own stupidity.
They're symbols of ancient mythological heroes, and the inherent toxic masculinity that exist in a lot of they're tales. That same toxicity also being represented by Lombard and even Superman in this issue too.
One of the interesting way that is explored is that all of the posturing and self-aggrandizement that Atlas and Samson indulge in, is very similar to what Clark was doing in the previous issue.
Talking about his feats and displaying cool stuff he has in his man cave instead of addressing his feelings. Though in Clark's case, coming from a place of insecurity and anxiety in relation to his death, instead of belief in a inherent weakness to allowing himself to feel.
Btw, I realized the beats I described up here thanks to David Mann's annotations on All-Star. Which you should all check it out too. https://davidmann95.tumblr.com/post/617353093980504064/all-star-superman-3
An important aspect of Morrison's Superman is that they write him as a person above all else. He is the Godly Solar Hero, but still a flawed person.
That said, how much this issue stretches those flaws and maybe has Clark indulge in unhealthy attitudes is something to be discussed.
Lois going out of her way to make Clark jealous after what he pulled in the last issue is something to discuss. First of all, you can't really escape the problem that Lois is relegated to the background and talked about like a prize.
Also, Lois still being mad at him is a more than fair reaction, though her passive aggressiveness being used as a way to justify her playing along with this is something to be criticized.
The Twelve Feats of Superman are an interesting framing device because we can't really tell how they're supposed to inform the narrative of the book. It hard to pint point what is an isn't a super-feat.
You can't really tell what events are going to reach mythological status when you witness them while they are happening. Specially with Superman who does something myth-like pretty much everyday.
I don't know exactly what the unanswerable question and its answer are supposed to mean. I see some of Morrison's interest in discussing the relationship between dualities and symmetries. And I can see how it might connect with the final confrontation between Clark and Lex.
What is your read of what the unanswerable and its answer are supposed to represent?
Also, huge props to Phil Balsman and Travis Lanham's lettering. On the whole booo really, but I specially love the Ultra-Sphynx's dialogue. It hangs in the air, regal and ethereal. Like they're calm, but stern voice booms inside your mind.
Also, fuck these two. This whole thing is their fault. They deserve to he thrown in the Phantom Zone.
Also, Quitely and Grant both get on the small list of artists who make red eye angry Superman work. Mostly 'cause in the context of the story it also speaks to the idea of Clark indulging in toxic masculinity.
But still, fuck Samson and Atlas. BOO THESE MEN!
There seems to be an interesting focus on eyes in the sequence with the Ultra-Sphynx. Both with the Sphynx distinct eyes, Clark's heat vision, and Lois blinking in and out of death giving Clark the answer. I don't know if it means anything, but I found it interesting.
And after winning the day through intelligence, Clark still sends Samson and Atlas packing by humiliating them in a show of strength. Honestly, I think this is here to be funny above all else.
A big theme of this issue seems to be contradictions. How well it executes that is something to be discussed. It's trying to contrast the type of heroism Clark represents with the one of past myths. Highlighting specially the toxic masculinity present in them.
We all know that that same toxic masculinity still plagues a lot of male superheroes, and Morrison has Superman display a lot of toxic attitudes in this story.
Does that mean this issue failed at what it was trying to do? Or does it highlight that Clark has a series of emotional problems he still has to process? What do you all think?
Also, these expression are wonderful and almost meme worthy. Frank Quitely is an fantastic artist.
One last to highlight before getting to the ending. This page of the Daily Planet crew is a wonderful way to give life to Metropolis. I love how strong these characters are, and I wish so much they were used more.
There's so much I love from it. How much of an idiot Lombard is; How little patience Cat has for everyone's bullshit, her reporting instincts kicking into gear, and her impeccable fashion sense; and Jimmy being used to this kind of stuff happening and just keeping a level head.
The last four pages are the best thing about the book. Clark's line about why she loves Lois speaks to my own idea of why he loves her: It's because she is Lois Lane. There's not a bigger than life reason. He loves her because who wouldn't fall in love with Lois Lane.
This is easily one of the best images in the entire book. Maybe one of the best image in Superman's history period. It's iconic and mythical, but intimate and sweet. It's simple in many ways, while illustrating so much of what makes this my favorite romance of all time.
Even though there's no bigger than life reason why they love each other, it doesn't mean they're romance isn't worthy of legend.
I love the way Morrison has Lois describe her powers fading away. The way her super-senses start escaping her is gorgeous. She puts everything in such grounded terms, it paints a beautiful picture of what it's like to suddenly gain Superman's power and see the world like he does.
And we end on Clark almost proposing to Lois as she fall asleep on his chest. None of the problems he is going through addressed, and his death still lingering on the horizon. Clark taking some solace on the idea of giving Lois an unforgettable birthday.
CW: Reference to ethnic slur.
All-Star Superman Issue 4 repeats a slur used to refer to Romani people. And it makes references to harmful stereotypes in relation to Romani people in a jokingly way.
All-Star Superman Issue 4 repeats a slur used to refer to Romani people. And it makes references to harmful stereotypes in relation to Romani people in a jokingly way.
They're unfortunate remarks that shows the age of the book. And an issue I'm not qualified to discuss in depth.
Lucy and Jimmy's relationship is not the most engaging plot thread. Lucy mostly comes off as a shallow person who's just trying to make Jimmy jealous.
Jimmy on the other hand is interesting. Morrison highlights the idea that Jimmy lives one of the most exciting lives ever. He had so many crazy adventures that at this point, the extraordinary is common place to him.
Unfortunately, Jimmy crossdressing is played as a joke. But a line of dialogue later does imply Morrison was exploring some ideas about identity with Jim. Also something I'm not qualified to discuss, but that's interesting to brought up.
I love how Jimmy's apartment plays a similar role to Clark's Fortress, at least visually. That creates an interested contrast with how both react to the extraordinary side of their adventures. How each chose to make it part of their life.
Though Jimmy doesn't have the responsibility of defending existence from all manner of evil. So that probably makes embracing the extraordinary without it splitting your sense of identity easier for him.
The idea of Jimmy turning his adventures into a column for the Daily Planet is gold. Really wish it was used in the main line too.
I really like that Morrison's Jimmy is the coolest guy around. No windbag dork. He goes on crazy adventures. Is Superman's best friend. And he gets to make money by writing about what to him is his day to day life.
Also, he keeps the bowtie because bowties are cool. (Pardon the reference. I couldn't resist)
Whether or not Quintum is Luthor, I love that Morrison uses him as a way to just throw as many crazy sci-fi ideas as they can at the readers.
Frank Quitely is an excellent designer. I love these armorsband how they match the sense of aesthetic he gave the DNA P.R.O.J.E.C.T.
The future is round everyone.
The future is round everyone.
Gotta love how Jimmy is genre savvy enough to know that the name of organization of super-scientists is an acronym. I'm also glad they didn't say what it stands for, it's probably very dumb.
Really like how Morrison highlights that the DNA P.R.O.J.E.C.T.'s militarized past led to horrifying, potentially world ending creations. It's grand result literally being called Doomsday.
Morrison explores some interesting ideas about identity by contrasting the G-Types who's identities are predetermined by what's coded into their DNA, and Jimmy who in a way describes his identity as fluid.
Also this is important for Luthor's character arc. Setting up the way him getting super-senses in the last issue changes his perception of things.
Quintum's workers being described as Bizarros might be another connection to the "Quintum is Luthor" theory.
I did not notice in the first read, but identity is a theme that's highlighted a lot in this issue. Both through the G-Types, Jimmy and now Superman. With how Clark has his identity warped and reversed by the black kryptonite.
Also, love how in three pages Morrison puts more thought into what an evil Superman looks like than most writers. They highlight Clark's new personality as arrogant, self-centered and cruel. Three characteristics that couldn't be more opposite to who Clark is.
Morrison shows that Clark does think of himself as infallible. No doubt he went evil in other situations, or dealt with evil counterparts before. So he had the DNA P.R.O.J.E.C.T. create contingencies for him. Even entrusting Phantom Zone tech to them.
I'm not sure if there's some bigger meaning to having Jimmy become Doomsday. Beyond being a reference to Jimmy going through weird transform throughout his comic history, and to Doomsday itself.
Another thing that's inversed by the Black-K is Clark refusal to process his emotions probably. So he is crushed under the weight of the fear of his impending death. Sobbing on the ground that he can't die, he is Superman after all.
Love the homage to Lois holding Clark's body. Also, Jimmy going a pal and wanting to make sure no one else gets to see Superman this low.
"No firewall is Oslen-Proof.", is one ir the best lines in all of comics. Showing Jimmy being competent, showing why he is Superman's Pal is always the way to go.
So Jimmy totally stole that coat, right? Does this means he says: "Be gay. Do crimes."
Also, I can't say I'm super-invested on these two, but this is a pretty sweet scene.
Also, I can't say I'm super-invested on these two, but this is a pretty sweet scene.
Also, Lucy refusing to sit on the couch and instead choosing to wreck her back by sitting like that has some big bi energy.
I wonder if there's some connection between Luthor's role models beyond all of them being horrible monsters with a legacy of atrocities to their name.
I also do know it's a reference to some statues he had in his own Fortress of Solitude from the Silver Age.
I also do know it's a reference to some statues he had in his own Fortress of Solitude from the Silver Age.
I love that in the same way Morrison summed up some fundamental aspects of Superman in a few panels, they summed up Luthor with only two in here.
This panel alone says so much about who Luthor is and what makes his character ticks. The arrogance, the complete lack of self-awareness.
Also, Lex's elation when the verdict is given is fantastic. All the pieces are in place for his grand scheme, and he couldn't be feeling better about himself.
Quitely facial expression game continues to be on point!
Quitely facial expression game continues to be on point!
That Lex can effortlessly creates things like this while rotting in prison also speak so much about him. Imagine what this could to help with education. But no! It's Superman who keeps him from helping the world. Again, that lack of self-awareness is key.
Also, his disdain for this creation, for culture, literature, for pretty much anything that hasn't been created Lex Luthor is also important. But he no doubt spent hours reading and dissecting all of these books just so he could talk them down in some way.
Morrison having Lex not only be the arrogant bastard we know him to be, but also a rotting well of toxic masculinity is fascinating. He is so obsessed with proving his uniqueness as a human in contrast to Superman...
...but he becomes like every other man who buys into the bullshit ideals society tries to push about masculinity.
I really like how he is constantly psychoanalyzing Clark. From his work as a reporter, his relationship with Lois and how its affected by Superman. He tries so hard to show how superior he is, how he can read this golden hearted, corn-fed oaf like a cheap panflet.
But at the same time, he can't help, but try and prove himself to Clark in some way. Intellectually and physically. He always has to aggressively assert himself in some way.
This panel is very important. The despair we feel when we don't live up to our own ideal of perfection, and how we react to that is key to understand what motivates Lex. Also, an extremely important theme of Morrison's work.
Also, more very memable facial expressions here.
Artic take, but Morrison writes such a fantastic Lex. You can hear the pleasure in his voice over the idea of Superman is slowly dying. He's such a despicable piece a shit.
I reread All-Star right after the BatEpic. Because of the way Lex says he's using the prison as a model for society, and how he promises them Utopia, I couldn't stop thinking about him as The Devil.
He's the false saviour. And given his transformation in the penultimate issue, he promises to bring on a new world by burning the previous one to ashes.
Little details I liked a lot. Lex deflecting when Clark asks why he wastes his time with Superman. Lex refuses to acknowledge the reality of they're relationship.
Lex hates the abstract. He wants a world of solidified, immutable ideas and rules created by him.
Clark saving people while having to stay in "Bumbling mild mannered reporter" mode is a ton of fun.
It's appropriate that Lex's performant agression leads to him screaming his lungs out while brutalizing a creature who can't even move. A pathetic, greedy man with a lot of bravado.
Absolutely love the way Quitely had the floor and the ceiling be a part of the panel here.
I love Clark's line here, it's a perfection description of where Lex's obsession is taking him. And Lex deflecting it again, is great, another example of his lack of self-awareness.
I love how pathetic Lex's rant is here. He is incapable to function because of Superman's existence. And he feels fulfilled because he killed someone who dedicated his life to helping others.
It fascinates me how Morrison manages to make such despicable characters work. They keep Lex be the absolute worst humanity has to offer, but still three dimensional, complex. Everything about is rooted in very real feelings.
This insecurity. This vitriolic, toxic rage because he is not the center of attention. Because he is not appreciated enough. Because things don't work the way he wants. Morrison writes Lex as a real person. It's scary how real he feels.
And as we reach the midpoint of the series, we double down on the imagery of the inevitability of Clark's death. Nasthalthia carrying Clark through the River Styx to continue his path towards the inevitable.
I really appreciate that Morrison writes Clark as an actual character. This issue highlights that. He's a person with a real personality. Throughout an amazing life, he still has moments pain and confusion. And he reacts to the ones that we get to see here in a deeply human way.
So many writers are either too afraid or too lazy to dig into Clark's character beyond the surface of his iconography. That's what tends to lead to a lot Superman stories feeling like meaningless fluff.
I can't help, but think that Johnathan had this epiphany about how lucky he and Martha were to find Clark because he knows the clock is ticking for him. Also, it's just a very sweet scene.
These little moments are what I'm talking about. Seeing that Clark gets embarrassed when his dad is too sappy. That he loves to play catch with his dog. Seeing that underneath the symbol there's a real human being with thoughts and feelings. It's just good for the character.
Also, extremely important that this is the most carefree and energetic we see Clark throughout the whole book. It's an important contrast not only for the end of this issue, but also for where he started as Superboy, and where he is going as his death looms ever closer.
This contrast between these two pages is also very important. Clark has to grow out of Smallville. Yes, the place is a fundamental part of who he is, but to be the champion the universe needs, he has to keep moving forward. The Man of Tomorrow has to outgrow the past.
Quitely and Grant as always, deliver an incredible work. This page is such a gorgeous way to show one of the greatest strengths of Superman. He can elevate the mundane into pure fantasy. He walks his dog through meteor showers, and they relax on the Moon.
I love the awestruck faces of the Superman Squad. They're meeting they're progenitor, and he is just this kid from a farm in the middle of nowhere.
Clark being so far from his own legend, being just a young adult who's conflicted between being a farmer or moving forward with his studies to be a journalist is also great.
It cements what's supposed to be a moment of extreme historical importance to the entire universe to such a human situation.
It's interesting how Clark keeps making excuses to stay in Smallville. Makes me think that he may be afraid of leaving what's more familiar to him. Despite the fact that everyone who doesn't have the privileges he has being ready to go on into the future.
Also, this illustrates how Clark's secret identity and refusal to open himself to others is something that has been hurting the people who are closest to him since the beginning of his career.
Note to self: Make a thread on DC One Million 'cause it's a dope-ass story and the Justice Legion Alpha is not appreciated enough.
Also, Iove how Kal Kent's uniform has this glossy texture to it.
The Superman Squad is so much fun. A great way to show how Superman's myth is timeless. How it can change with time and take many different forms.
Note to self: This is important for Multiversity.
Note to self: This is important for Multiversity.
A small detail, but I love how Superman's symbol changes with each generation. It's a beautiful way to show that it will outgrow Clark and its kryptonian roots. And every new person who becomes a part of it bringing something new to it.
It's a symbol defined by imagination, therefore it is limitless.
Also, I absolutely love the design of the Chronovore. A chaotic storm of unidentifed mass feeding on time. Also, is making a "It's voring time" too much of a low hanging fruit.
This is out Clark disguised. I love this scene because all he's trying to do is reassure his dad that everything will be okay. That he can pass on without a heavy heart, that he did a good job. And all while Clark himself is dying.
Also, really love that Martha is the member of the family who's business savvy. Sure would be something interesting to actually see too.
And Clark has to learn an important lesson about his own limitations and responsibilities.
I also really like the detail of Jonathan's heart attack and Martha running to him being two small panels amidst the chaos.
There's so much in these six panels that Morrison would based a lot of their Action Comics run on.
Also, from what @deathchrist2000 told me, Morrison's father passed away during the time All-Star was being published, so I can barely imagine how personal this was for them.
Also, from what @deathchrist2000 told me, Morrison's father passed away during the time All-Star was being published, so I can barely imagine how personal this was for them.
It's so important that Jonathan's death gives Clark no clarity whatsoever. It just makes all of his insecurities all the more heartwrenching. He is more lost than ever after losing his dad, which not to be a broken record, is such a human reaction.
I know I repeated that a lot, but not treating Clark like a three dimensional character, and completely leaning on his iconography and feel good fluff is a legit problem of how so many writers approach Superman.
And we have the reintroduction of Superman One Million and little hints that he is the Superman from All-Star. I'll say, the idea that Superman OM traveled through time, recruiting Superpeople to defend all of existence is dope as all hell.
Also, really like how a Superwoman – who I imagine is an millenia old Kara – and Superman Secundus, seem to be the closest to him, maybe both being his seconds in command. Also, nice way to reference a Supergirl and Superboy.
Love how Clark gets to bring some comfort to his dad's memory in three different ways, in different eras.
Morrison does such a good job showing that there's a person underneath the costume. This is Clark having to let go of a pet he can't take care of anymore. It's so sweet, and his bittersweet expression after the fact is great touch.
Morrison also does a great job using the Daily Planet as a way to show a human reaction to the monstrosities that attack Metropolis.
And at the same time, they use what could just be throwaway lines of dialogue to flesh the Planet's crew. We get that they are real friends, who are spending Christmas together because they genuinely like each other's company.
Really like the detail of Jimmy being the one who knows what to do whenever a new crazy monster attack happens.
This is a genuinely creepy take on Bizarro. Ties back on Morrison being a great horror writer. And Frank Quitely is fantastic at portraying body horror.
Poor Allie though. I loved her from the two panels we got of her.
Poor Allie though. I loved her from the two panels we got of her.
For as much of an asshole as Lombard is, he shows real care for his fellow Daily Planet reporters. Which makes him a lot more than just a dumb jock who stumbled into working for a newspaper.
Humongous props to the art team on they're portrayal of Bizarro. He looks legitimate intimidating here, Quitely does a great job at making it look like his face is this melting putty that lookw disturbing. And I love the way Jamie Grant colors explosions and smoke...
... you can practically feel the heat coming from the blast.
The fight with Bizarro is a ton of fun. We bet too see more of Clark's new powers. Also, marks the first time we'll see Clark confronting a cracked mirror version of himself. Later, we'll have Zibarro, Bar-El and Lilo, Solaris in a way, and ultimately Lex.
The Daily Planet crew really does sell the horror of this situation to great effect.
I love that Jimmy can tell how practical a pair of heels are just by looking at them.
Also, I weirdly like that Jimmy annoys Leo. I can imagine that he is almost offended this 20 something, celebrity reporter manage to get his personal number more than once.
I really like that Clark is worried he may not be able to stop this on his own. But it doesn't stop him from trying. He's not infallible, but he can't stay put.
I really like that Jimmy's idea is not scoffed, it might sound a bit silly, but it's also a spur of the moment, in a desperate situation, idea that he throws at the table. And Superman being Superman, he can work off of it, making into something more tangible.
They are my everything!
Imagine being kissed by Superman must be like.
The coloring on these panels is outstanding.
I really like that the second he stops fighting and starts interacting with Superman, Bizarro starts gaining more complex thoughts, and most important of all, he starts feeling compassion.
The emo boy has arrived! We'll discuss Zibarro more next time, but him looking down of the Bizarros, but also being completely self-defeating about his own misery in his introduction already says a lot about his character.
I love the architecture of Bizarro World. The threw together and mixed houses look like something out of a fairy tale. Weirdly, it also reminds me of the fish bowl castle from Flex Mentallo.
Also, I don't know why Zibarro has a trenchcoat instead of a cape, but it's a good look.
Also, I don't know why Zibarro has a trenchcoat instead of a cape, but it's a good look.
Reimagining Bizarro World as a eldritch monstrosity from a dimensional plane underneath our universe, and have it be a character who also develops throughout the issue is such an imaginative take on this concept. Morrison is such a great writer.
Zibarro is very interesting. If Bizarro externalizes Clark's alienation and insecurities – the fear of being seen as an alien brute who causes destruction despite his good intentions – Zibarro externalizes them. He also is representative of Clark's alienation...
... he is someone who sees beauty on a chaotic, imperfect world. Surrounded by creatures who actively refuse to make sense. Utterly alone because not a single person can look at the world the way he does.
But in the same way that Clark's self-control and confidence keeps him from becoming a brute, it also keeps him from being crushed by the way his powers inform his outlook on life.
So when Clark is stuck in the same situation as a Zibarro, he is able to act instead of feeling sorry for himself.
I'm sure "Zibarro is the other face to Bizarro's coin in how they relates to Clark's alienation" is not new and fresh take. But it's definitely what stuck with me from the character.
Lois having to learn from a third party – that as far as she was concerned, has nothing to do with her relationship with Clark – that he is dying, is another example of Clark's insecurities and trust issues hurting the people he cares about.
I don't know if I'm reading this panel right, is Lois accepting the truth that Clark is Superman, here?
Nor satisfied on being a great horror writer, Morrison now flexes their muscles as a funny writer too.
I really like how Clark uses Bizarro speak, great way to show him as a good diplomat who respects the ways of the civilizations he comes across, no matter how unusual they are.
I really like how Clark uses Bizarro speak, great way to show him as a good diplomat who respects the ways of the civilizations he comes across, no matter how unusual they are.
Bizarro out here living his best line.
Zibarro out here whining our ears off.
Zibarro out here whining our ears off.
Though Clark "sinking to their level" is another example of how Clark keeps going. He meets people on their level. His powers and the perspective they give him, don't make him superior to any other person on Earth or any other planet on the Universe.
The Unjustice League is the only other glimpse we get of the other heroes of the DC Universe. I don't care about what Flash or Hawkman are doing during All-Star, it works best being solely a Superman story and not trying to fit a bunch of other characters. But it's a fun bit.
I kid about how sad Zibarro is, but his situation is very relatable. End of the day, he just wants to find a place where he can feel like he belongs, something a lot of us are still looking for to this day
This specifically has no right being as relatable as it is.
Also, just so I can bring up how good Quitely's art is! These Bizarro League designs are all fantastic!
This who sequence is real weird! It's like Morrison combines the funny aspect of this issue with the horror of the last one, and it it kinda of just leaves me in awe of how bizarre it is.
A lot of interesting back and forth between Zibarro and Bizarro here. It's interesting that in their encounter with Superman, the former is left somewhat content, while the latter seems to become more pensive and somber by the end.
One last thing, the Bizarro Speak ks very good in this story, mostly 'cause you don't have to spend time decoding what the Bizarros are saying. That's a very important aspect of how to make a Bizarro story work.
The art really sells the impact of this sequence. Love the way they rendered the rocket bouncing off the ground. If Clark wasn't invulnerable, this would be painful to look at.
We only see a few panels of Bar-El and Lilo's modification of Earty with Kryptonian tech. Props to Quitely for making the crystal aesthetic actually look interesting in comic form by having it be more than just spikes growing out of the ground.
They're actually look like a form of architecture, which helps and I really like.
Bar-El and Lilo are an interesting exploration of the age old question: Just how much should Superman interfere with Earth?
Morrison uses them to great effect to illustrate how terrifying beings who have all the power, but no care for those without it can be. And the art renders they're use of these powers in a gorgeous way, this is a hell of an introduction.
Morrison's characterization for Clark here also works. He doesn't come off as an ineffective dope like other stories like this tend to characterize him as.
Given the scale he is acting at, it's more about how Clark believes he does not have the right to steamroll entire civilizations so they'll fit his views for how the world should work.
Also, I really like how Morrison highlights that historical figures rarely live up to the image cultural osmosis builds up for them.
They also highlight that being from Krypton was never what made Clark the hero that he is. Krypton had a toxic culture that led to its destruction, one that Bar-El and Lilo bask in.
A tomorrow built by them would never last because they don't seek change and progress. They just replicate what they believe made Krypton great, including its jingoism and eugenics. That would ultimately include the same mistakes, and ultimately the same endpoint.
And they say a lot about how self-contained Clark has to be so he doesn't cause major disasters everytime he has a more strenuous fight.
I'm in love with these moments where we catch up with the Daily Planet crew. They're such a charming touch of humanity to the story, and they break away the tension to great effect too.
Why we didn't get a Daily Planet maxi series yet, continues to be beyond me.
Why we didn't get a Daily Planet maxi series yet, continues to be beyond me.
Please, DC. Just give me an office drama/comedy with these characters. I demand it!
The second Bar-El and Lilo stop being a threat and they're lives are in danger, Clark offers to help them. Because Superman helps people. No matter how much they hurt him in a very personal way, he still helps. He cares.
Also, the way Quietly and Grant render they're sudden blindness is absolutely horrifying.
Morrison's Superman is very much a science hero and I love that's something they highlight in the way he gives Bar-El and Lilo some manner of peace.
In Action Comics Morrison would show the Phantom Zone as Jor-El's greatest shame, because it's an extremely cruel punishment. It makes the idea of Bar-El and Lilo's salvation being them getting to spend the rest of their days beating up inmates very uncomfortable.
It's an interesting contrast between the presentation of the same concept, in two different series, by the same creator, with a few years of difference.
Let's talk more All-Star Superman. This time: What to many, may be the greatest Superman single issue of all time. Or at least the one with the greatest Superman moment of all time.
This issue is very much a "Day in the Life of Superman" story. We see that even in the condition that he is, his death looming ever closer, Clark does not stop. Not from stopping the greatest threats, or just giving people in need some moments of happiness and comfort.
Humongous props to the art team here. This such a good rendition of an exhausted Superman. Morrison's narration is also top notch, Superman's last will is as somber as you would imagine it to be. Clark fully accepting he can't escape this, but even then, never stopping.
The bits of Kandor connect with an overall theme of letting go and accepting that change is inevitable. Van-Zee having to accept his aging. Kandor having to accept that they can't keep living in a bottle. Clark having to accept that the universe can go on without him.
I really like Morrison's portrayal of Kandor as a stagnant society, completely frozen in time. Grasping at straws to remain stationary out of fear of the inevitable change that awaits them.
Clark creating Earth-Q represents a huge turning point for him. Here is where his narration becomes the most godlike. Appropriate since it's the moment he literally creates life, but still a very interesting contrasts with how he sounds throughout the rest of the book.
Gotta love how Lois Lane just knows how to get into trouble.
It stings to see that Clark has no words of comfort or reassurance for Lois in relation to his condition.
I don't know how to feel about the whole "We can't have children" thing being presented as the big tragedy to Superman and Lois' relationship.
I don't know how to feel about the whole "We can't have children" thing being presented as the big tragedy to Superman and Lois' relationship.
I really like how the panel with Reagan's doctor. It's one small moment amidst so much chaos, in an issue that's jumping around all over the place. Really highlights how Clark is listening to every situation where someone might need help.
CW: Suicide attempt.
The Superman Page. Five panels that distill Superman into so much of what makes Superman such a powerful and meaningful idea. To this day, this maybe still the greatest Superman moment put to print.
The Superman Page. Five panels that distill Superman into so much of what makes Superman such a powerful and meaningful idea. To this day, this maybe still the greatest Superman moment put to print.
CW: Suicide attempt.
The artwork here is outstanding at every step. The way Reagan's phone looks so small in comparison to the building to accentuate the heaviness of the situation.
The artwork here is outstanding at every step. The way Reagan's phone looks so small in comparison to the building to accentuate the heaviness of the situation.
And specially the way they seem to release the longest held breath once Superman is beside them. They're posture and body language relaxing in a way that makes the reader breath again. Also, great job on the coloring of the eyes to show them as red and puffy from crying.
I really like Superman's words too. "You're much stronger than you think you are."
Words won't cure the issues that our minds go through, but being reminded that we're not alone, that there's so much more to ourselves than we think. That can be first step to start healing.
Words won't cure the issues that our minds go through, but being reminded that we're not alone, that there's so much more to ourselves than we think. That can be first step to start healing.
And the very last panel is gorgeous. It's such a small image, but everything about it just transmits comfort.
Even when Superman says everything Lex wanted to hear, he still refuses to entertain the idea of meeting him halfway. Him spitting at Clark after he dares suggest there being goodness in him also feels very significant.
I didn't managed to decode everything that's said here. For the most part I think this is how Clark discovers Solaris is coming.
Clark trusting Leo with the formula to create the new Superman represents him fully letting go. Trusting the future of humanity to the human who's trying to build a better world.
Also, this coming right after Clark ask Luthor to help the world also feel significant.
Also, this coming right after Clark ask Luthor to help the world also feel significant.
The Earth-Q segments seem to highlight that human societies are constantly creating ideas of what the perfect being should be, with Morrison affirming that Superman is also a product of that.
What do you all think of these bits and that title page?
What do you all think of these bits and that title page?
And we end on a very striking note. Clark preparing for his final adventure. While also letting the world know he won't return to them this time.
I talked before about how I read Luthor as The Devil of All-Star.
@deathchrist2000 pointing out that being The Devil is what Luthor desperately wants, accentuated to me how these cruel displays of power show Lex for the desperate, pathetic man that he is.
@deathchrist2000 pointing out that being The Devil is what Luthor desperately wants, accentuated to me how these cruel displays of power show Lex for the desperate, pathetic man that he is.
Just to think that these would've been his last words as a living man if he didn't have the serum. Talking about how incredible he is, while mocking someone's sick relative. All he had to show for himself is the same empty promises he always made.
I really like to think that Lex just jumbled words together to describe what the super serum is. He is literally throwing big words together to convince people that he is the smartest person in the room.
As we can see, identity as a performance continues to be a very important theme in Morrison's work.
I love how the first thing we see of Superman before goes into his greatest challenge yet, is something so human. He's cleaning after the pet he misses.
This is one of my favorite sequences in the book. Clark being in awe of how wonderful his life was. How he had the privileged to see the world in such a unique and beautiful way, while also having the opportunity to go in so many amazing adventures.
But in the end, the most valuable thing he had in life were friends to share these amazing adventures with, and someone he loved and who loved him back.
I said it before, but it's endlessly sad this story is treated as just Silver Age nostalgia fluff. Because it seeks to be so much more than just a trip down those non-existent Good Ol' Days.
I really like that Morrison always emphasizes Superman as a man ir action. His words of encouragement aren't empty platitudes or patronizing. When he says: "There's always a way", you believe he will find that way.
More into Lex's performative evil. I really like that Morrison has him specifically say that now that Lex has these powers, he doesn't need his old tools anymore. The old Lex is beneath him thanks to power he stole.
The fight against Solaris is a spectacle to behold. I think it's the scene that feels the most life "One of the Twelve Super Feats of Superman", we truly get the feeling that we're witnessing something out of a mythological tale.
Been awhile since I read DC One Million, but has Solaris ever looked better than this? Big props to the art team, I love how he is reminiscent of the Sun's surface from the first issue, which in high sight, should be obvious.
I love this silent panel. You can tell that there a million thoughts going through Clark's head a he embarks his final adventure.
And I absolutely love how the robots, who were most background dressing, have their own little arc where they're loyalty to Superman is more important than they're programming of curating the Fortress. They choose to go with him.
This whole fight is beautifully rendered by Quitely and Grant. And Travis Lanham's lettering enhances everything in a great way. Solaris' booming voice; Robot 7's screeching scream; and the Sun-Eater dying cry. All of it looks gorgeous.
The fight is super gnarly too. With the robots being blasted, Clark ripping pieces of Solaris, the Sun-Eater being blown to bits.
Clark going from tamed realization to rage fuelled scream after Solaris kills the Sun-Eater is also a great touch to end the space portion of the fight.
Clark rarely displayed this much anger before. And when you think about how this thing destroyed robots who loved him so much they insisted to fight alongside him, and killed the pet who came back for him in his moment of nee, you realize that's a very human response.
Nasthalthia is a very interesting character. She's an interesting exploration of what Lex's villainous legacy. All of her schemes are vanity projects that reveal at ton of unaddressed mental health issues. Which in of itself says a lot about Lex as well.
I wouldn't mind seeing her make a comeback.
The best part of this Daily Planet sequence, is that everyone stops what they're doing and are in shock when they realize Clark is dead. Even if they're make they're jokes, these people love each other.
This is such a good Lex design. Good on Morrison and Quitely for not going with the cliche fancy suit look. And the rendering of this splash page is gorgeous, the red eyes, the lightning lit dark sky, it shows just how horrifying a superpowered Lex is
What you all say we close the book on All-Star Superman?
I love this cover. Clark being corned, the last thing between Earth and utter annihilation; Lex at his peak as he destroys Metropolis. It's not what you would expect for the cover to close off this series.
I love this cover. Clark being corned, the last thing between Earth and utter annihilation; Lex at his peak as he destroys Metropolis. It's not what you would expect for the cover to close off this series.
The sequence of Clark talking to Jor-El's thought construct is fascinating.
I wonder, what did you all take away from it?
I wonder, what did you all take away from it?
This is a bit I love. The very first relevant event in Clark's life is the extinction of his people. It's the universe screaming at him that, on a cosmic scale, life is fragile, worthless and can be wiped out in seconds and without warning.
It's such a powerful idea that gives so much insight to Clark's mind and why he never stops fighting. He knows that life is fragile in every scale he acts on. From Krypton exploding to a young person who thinks everything is over for them.
And that's why he'll do everything in his power to protect it. He'll never stop. There's always a way.
No doubt there's a ton here about Morrison's own beliefs on the afterlife and their relationship with the Great Beyond.
Also, Clark having to choose between action or inaction is one it those moments where Morrison reaches the core of what makes the character tick. It's so good!
Also, Clark having to choose between action or inaction is one it those moments where Morrison reaches the core of what makes the character tick. It's so good!
I love how slimy Lex is once he achieves his so desired perfection. Also, the detail that with all this power, he still cares about his image and things like propaganda says everything you need to know about the type of "Savior" he would be.
Also, his hatred of the abstract, of things he can't control, can't make immutable is also important.
The contrast between Jor-El's beautiful speech and Clark's desperation is so interesting. Even after all the soul searching he did, all the clarity he obtained, when it comes time to face The End, Clark is terrified of dying.
Also, really interesting that part of Clark's rebirth before his final challenge involved his mind creating a whole life for himself in Krypton. And then he has to let it go, because the people he loves need him.
Something interesting I noticed on this read for the thread. To face his final challenge so he could become a golden sun god, Clark had to die first as Clark Kent, then as Kal-El.
To face the end: He is Superman.
To face the end: He is Superman.
I think it gives this idea that Superman has to become something bigger than the summ of his parts. Shed his previous identities and rise as something more.
Personally, I always liked the idea that Superman's legacy far exceeds Krypton.
Personally, I always liked the idea that Superman's legacy far exceeds Krypton.
Gotta love how Morrison gives their characters these little moments. Lombard who was our poster boy for toxic masculinity, doesn't not pay attention to Lex's drivel, he doesn't stuff chest and act tough, he just desperately wants his friend back.
Another example of how much of a piece of dirt that Luthor is. The slightest, very deserved insult for his stupidity immediately sets him off.
Also, good on Jimmy for not flinching in the face of evil.
All the power in the world, and maybe the universe's greatest mind, but because of his ego, he still refuses the idea that some farm boy turned bumbling reporter could be the one person who's been every step ahead of him.
The art team does a fantastic job rendering this fight. It's gnarly as hell, it's not a purely fun fight, the way Clark and Lex steamroll they're way through Metropolis is horrifying.
I love the way Quitely takes his time with the little details. He way he draws every little piece of everything that breaks apart and melts makes the whole fight feel more frantic.
Also, live the way Jamie Grant colors Lex's x-ray vision and heated eyes.
