‘The Death of Superman’ Director Compares His Movie to the Comics

In 1992’s “Doomsday!” storyline, which ran over seven parts through four weekly Superman comics and Justice League America, the writers and artists famously ratcheted up the tension from week to week by reducing the number of panels on the story’s pages, ultimately culminating with a final issue — Superman #75 — which was made up entirely of splash pages, including a final, four-part fold-out splash of Superman’s actual death.

During a conversation with reporters at Comic Con, Sam Liu — who directed the second half of the just-released animated film The Death of Superman — praised that storytelling device, and explained that while there was no 1:1 translation of the effect, within the context of the film he and his co-director Jake Castorena tried to approximate the impact by changing up their shot selection as the fight between Doomsday and the Justice League got more intense and brutal.

“I think comics are smart when they do that because they start playing with something that is not really inherent in the medium, which is pacing and timing,” Liu said. “Inherently, that is something that was very smart of them but it’s a little bit more noticeable, obviously, in film. It’s a moving media. So it’s faster cuts or longer shots or closer shots, more dynamic shots. All of those things I think have the same feeling, whether it’s timing or whether it’s composition. I think it’s something that they used to a great effect in the comics, but I think it’s easier in film.”

The movie — a loose adaptation of the “Doomsday!” story but still far closer in its execution to the original material than was the 2007 animated movie Superman: Doomsday — tracks Superman and the Justice League as they battle Doomsday in an epic smash-em-up that leaves the League down for the count, Superman and Doomsday dead, and the world reeling.

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The story has been adapted a few times — not just in Doomsday but also in Batman v Superman: Dawn of Justice and on some of the animated series that The Death of Superman producer James Tucker has overseen for Warner Bros. Television over the years — but the latest movie is the first to really use the comics as a template and to see the death of Superman as a storyline to be adapted, rather than just a concept to be absorbed into an unrelated tale.

The Death of Superman is available on video on demand services now, and will be available on DVD and Blu-ray August 7.

From: http://comicbook.com/dc/2018/07/27/the-death-of-superman-director-compares-his-movie-to-the-comics/

Superman Reportedly Doesn’t Have a Cameo in ‘Shazam!’

The world is riding high on Henry Cavill after his appearance in Mission: Impossible – Fallout, but many fans are wondering about his next turn as Superman after the disappointing Justice Leauge.

There were rumors of the Man of Steel possibly making a cameo in Shazam! but now it’s sounding like Cavill will sit that movie out as well, according to Mark Hughes of Forbes. The writer appeared on the Superhero News podcast and revealed he’s also heard nothing about a another new Superman movie.

“Superman, I can tell you as of three to four weeks ago, last time I checked in, there is not movement on Superman,” Hughes said. “It’s not currently sitting on the table as a project that they’re looking at moving forward on and there’s no expectation of imminent movement on a Superman project… that’s the situation.”

He added that while it could change in the future, fans shouldn’t expect to see Cavill suiting up in any upcoming DC Films projects.

“I know for now it didn’t work out getting Superman into Shazam!, apparently. Maybe that will change and they’ll be able to film something. There’s still a lot of time before it comes out. As of right now, there’s no Superman in Shazam! and there’s no movement on a Superman solo movie. All this stuff is going to wait until they know for sure.”

That will likely be disappointing for many fans who were hopeful of seeing Cavill back as Clark Kent, especially after his villainous turn in the new Mission: Impossible movie. And though it sounds like all parties in involved want to make it work, there are a lot of hurdles to overcome before it happens.

Geoff Johns, who used to be one of the heads of DC Films before Warner Bros. Pictures latest reshuffling, said at Comic-Con that he’s unsure what the future holds for the character, but that the studio is determined to get the character right.

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“Look, working with [DC Films president] Walter Hamada and [Warner Bros. President and CCO] Toby [Emmerich] over there at [Warner Bros.], they feel the same way. Everyone loves Superman and knows how important Superman is,” Johns told Collider. “It’s not in my wheelhouse now to really say anything beyond that but… I got into this business because of Superman: The Movie, because Dick Donner directed what I think is still an amazing superhero film but an amazing film — it’s an American film, it’s a classic.”

Hopefully we learn more in the near future, because DC Comics fans are eager to see the Superman back on the big screen.

From: http://comicbook.com/dc/2018/07/30/superman-not-in-shazam-no-man-of-steel-sequel/

The Comic Source Podcast Episode 434 – Superman Sunday: Action Comics #1001

In this episode we discuss;

The Comic Source Podcast

Episode 434

Superman Sunday: Action Comics #1001

Writer – Brian Michael Bendis, Artist – Patrick Gleason, Colorist – Alejandro Sanchez

From: https://lrmonline.com/news/episode-434/

Henry Cavill Knows Which Superman Comic Should Be Adapted …

There’s been plenty of talk about a potential Man of Steel 2, but DC and Warner Bros. have yet to confirm in any official manner that a movie is in development. That hasn’t stopped people from asking Henry Cavill about a sequel, with the actor expressing a desire to lead his own solo film again, but not confirming anything. Superman has no shortage of comic books stories that could make for an awesome movie, but if Cavill really had to pick, he’d want to adapt a comic book known as Superman: For Tomorrow.

From: https://www.cinemablend.com/news/2454714/henry-cavill-knows-which-superman-comic-should-be-adapted-for-man-of-steel-2

Superman Taps Into His Inner-Batman in Action Comics #1001

WARNING: The following article contains major spoilers for Action Comics #1001 by Brian Michael Bendis, Patrick Gleason, and Alejandro Sanchez, on sale now!


When the super-sized, jam-book Action Comics #1000 was released in April, it was nothing short of a milestone in comic book history. The issue was impressive not just due to the four digit number plastered across its cover — it also heralded the arrival of Brian Michael Bendis to DC Comics’s monthly schedule. But somehow, despite this, Action Comics #1001 almost feels like a bigger deal. If issue #1000 was the summit of a mountain, then this issue marks the beginning of a new climb, which feels like something that should be celebrated as well.

This summer has involved comic readers becoming acclimated to Bendis taking up the reins on Superman. Some fans were apprehensive about how the prolific comic scribe would embrace the most iconic superhero ever created, but thus far, his tenure at DC (which has included the six-issue miniseries The Man of Steel and Superman #1) has proven that not only does Bendis understand the character on the fundamental level, he can also incorporate his own story telling devices to make the Kal-El feel new again without betraying the last eighty years of Superman comics. Action Comics #1001 is no exception.

RELATED: Action Comics Is Poised To ‘Redefine’ Superman Lois’ Relationship

In this issue, we pick up a loose plot thread from The Man of Steel surrounding a series of mysterious arsons plaguing Metropolis. The fires have been the bane of not just Superman, but Clark Kent. And yes, there is a dichotomy there, despite the two of them being the same person. Clark can interact with certain groups of people in ways Superman never could, and vice versa.

As the logline on the cover of this issue proclaims, “As Metropolis burns, only one hero can save it… Clark Kent.” This isn’t some cheeky nod to the power of investigative journalism. It’s stating a fact. Despite all his power, there are some thing Superman can’t get done on his own. The string of fires burning his city down is a something he can’t solve by punching it into orbit.

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From: https://www.cbr.com/superman-action-comics-batman-detective-work/

‘Teen Titans Go! To The Movies’ is wacky DC Comics fun – TwinCities.com

Compared to their dark and dour live-action brethren, the Warner Brothers/DC Comics animated features are a breath of fresh air. Much like “The Lego Batman Movie” (which one could argue is the best Batman movie — full stop), the wild, wacky and self-aware “Teen Titans Go! To the Movies” bursts onto the screen like an attention-addled sugar rush. It absolutely nails the humor and self-referential material that is so sorely lacking from the likes of “Batman Vs. Superman.” So yeah, it is possible to make a funny DC Comics movie.

Based on the wildly popular and long-running Cartoon Network series “Teen Titans Go!,” the feature film adaptation is directed by Aaron Horvath and Peter Rida Michail, written by Horvath and Michael Jelenic. “Teen Titans Go! To the Movies” is a deliriously demented and gleeful skewering of DC Comics characters, superhero movies and Hollywood in general that’s one long inside joke — with musical numbers!

It’s a classic story of big Hollywood dreams, wherein Robin (Scott Menville) goes on a quest to attain what seems impossible — a meeting with a big-time movie director, Jade Wilson (Kristen Bell). He wants to be a real superhero, along with his crew, the Teen Titans: Cyborg (Khary Payton), Starfire (Hynden Walch), Beast Boy (Greg Cipes) and Raven (Tara Strong). Based on anecdotal evidence, Robin deduces the way to be taken seriously as a real superhero is to have a movie made about you. And to be a real superhero and have a movie made about him, he needs an archnemesis — enter Slade (Will Arnett).

One of the great things about “Teen Titans Go! To the Movies” is the team behind the television show, including the filmmakers and voice actors, have been transplanted to the big screen and given a bigger platform, rather than replacing the creators with higher profile names. That deep knowledge and comfort with the characters shows, as it’s the rapid-fire chemistry within the group that keeps the film moving at a breakneck pace.

There are cheeky body-humor jokes and rousing musical numbers, including an absolutely epic ’80s jam called “Upbeat,” complete with a Lisa Frank-inspired aesthetic. There’s a hilarious recurring Stan Lee cameo (voiced by Lee), roasting the Marvel publisher’s thirst for screen time. Most importantly, there’s a willingness to poke fun at some of DC’s most iconic characters, like Batman, Superman and Wonder Woman. It may blow your mind that Nicolas Cage voices Superman, considering his obsession with the character and his failed Superman movie, “Superman Lives.” His son, Kal-El Cage (yes, named after Superman), even voices young Bruce Wayne. This is the kind of mind-boggling depth of reference going on.

But after such a promising start, it becomes clear that when stretched to an hour and 33 minutes, the relentless, frantic energy of the Teen Titans can be rather exhausting. The film becomes busy, loud and harried, never letting up on the pace or making room for lines or jokes to land. The Teen Titans overstay their welcome just a hair, as they most likely shine brightest in a half-hour format. But the film is incredibly smart, and funny, and a refreshingly lighthearted take on these characters and cinematic universe. Here’s hoping their attitude is infectious.

‘TEEN TITANS GO! TO THE MOVIES’

Directed by: Aaron Horvath and Peter Rida Michail

Starring: Scott Menville, Kristen Bell, Khary Payton, Hynden Walch, Greg Cipes, Tara Strong, Will Arnett, Nicolas Cage

Rated: PG for action and rude humor.

Should you go? It’s a smart, lighthearted take on DC characters. ***

From: https://www.twincities.com/2018/07/26/teen-titans-go-to-the-movies-is-wacky-dc-comics-fun/

Review – Superman: Action Comics #1001: Chaos in Metropolis …

Owner/Publisher, Editor-at-Large

Ken Denmead

Editor-in-Chief

Matt Blum

Managing Editor

Z

Senior Editors

Jonathan H. Liu, Jenny Bristol, Corrina Lawson, Patricia Vollmer

Gaming Editor

Dave Banks

Assistant Editor

John Booth

Associate Publishers*

Tim Johnides, Jeff Williams, Dante Lauretta, Magnus Dahlsröm, Jayson Peters, David Michael, Gerry Tolbert, Andrew Smith, Ray Wehrs, Joel Becker, Scott Gaeta, Beth Kee, Joey Mills, talkie_tim, Danny Marquardt, Adam Bruski, John Bain, Bill Moore, Adam Frank, Lacey Hays, Peter Morson, James Needham, Matt Fleming, Adam Anderson, Jim Reynolds, Seiler Hagan, Bryan Wade, Petrov Neutrino, Jay Shapiro

Editor (Emeritus)

Chris Anderson

Core Contributors

Darren Blankenship, Rory Bristol, Robin Brooks, Preston Burt, Mathias DeRider, Ray Goldfield, Jamie Greene, Michael Harrison, Ryan Hiller, Rob Huddleston, Will James, James Floyd Kelly, Anthony Karcz, Michael Kaufman, Mordechai Luchins, Brad Moon, Tony Nunes, Anton Olsen, Skip Owens, Jules Sherred, Mark Vorenkamp, Shaun Washington, Simon Yule

Occasional Contributors

Tim Bailey, Sara BlackburnStephen Clark, Jeffrey Cohen, Adam Dimuzio, Mathias DeRiderLogan Giannini, Travis Hanson, Sean Hallenbeck, Kim HaynesWhit HoneaMichael LeSauvage, Jim MacQuarrie, Joey Mills, Michael PistiolasRicardo Rebelo, Drew RichMariana Ruiz, Derrick SchneiderTony Sims, Randy Slavey, Andrew TerranovaGerry TolbertChris Wickersham

From: https://geekdad.com/2018/07/review-superman-action-comics-1001-chaos-in-metropolis/

The Death of Superman Movie Changes Up a Classic DC Comics Story Just Enough to Work

Superman and Lois have a tender moment in the middle of battle.
Screenshot: Warner Bros Animation

The Man of Steel still dies in the new Death of Superman animated movie. The biggest surprise in the film is how he lives his life before Doomsday takes him out.

At this point, part of the appeal of Warner Bros.’ animated adaptations of beloved DC Comics stories is watching to see what gets re-imagined. The current iteration of these films takes place in a world heavily influenced by the New 52 reboot. These adaptations graft pre-Crisis storylines onto a new continuity, which affords different angles, strengths, and weaknesses. In this version of The Death of Superman—which had a world premiere Comic-Con screening on Friday night— we get a more inexperienced Superman than the one from the classic 1992 storyline.

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This Kal-El is still a member of the Justice League but doesn’t know much about his Kryptonian heritage. He wants to tell the world about his extraterrestrial origins through articles written by Lois Lane, but also struggles with how to balance the two sides of his life. This dilemma feeds the core tension of the movie, embodied in a version of Lois and Clark are entangled in a workplace love affair. After watching Superman trounce some bad guys, Lois pushes Clark into an office closet and they start making out. “You’re always on fire after seeing him,” Clark quips. They’re trying to keep their romance secret, a decision that suits both their needs. But Lois gets ever more frustrated by how Clark keeps her at arm’s length. When a planned weekend getaway comes into conflict with his parents coming into town, Clark stammers his way through explaining why it might be a bad idea for Lois to meet Jonathan and Martha Kent. They all get together but Lois can’t understand why Clark won’t really let her into his life.

Meanwhile, conversations with teammates in the League make Clark consider doing exactly that. During a regularly scheduled meeting, Flash tells the team that he’s getting married and Superman is stunned to learn that Iris has known about the superhero side of Barry Allen’s life for years. Even Batman makes time for family, explaining that he can’t make the next meeting because it’ll be parent-teacher night at Damian’s boarding school.

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This Superman is nervous, uncertain, and even a little paranoid. He wants to do the right thing but doesn’t know how Lois, or the world at large, will accept him if they find out what he truly is. The characterization is a good beat to land on in a universe where his career is essentially just starting out.

The other plot threads running through Death of Superman concern Lex Luthor’s maniacal need to find a counter-measure to Superman through the mad-science experiments of Project Cadmus, a crew of endangered space shuttle astronauts, and S.T.A.R. Labs research on hybrid Apokaliptian technology, which is being used by the criminals of Intergang. If you’re familiar with the whole arc of the 1992-1993 comics storyline, you’ll see these subplots for what they are, setting up the latter half of a two-part film narrative.

Because the backdrop for this version of Death of Superman is different, new choices get made to communicate a sense of threat. After making Earthfall, Doomsday doesn’t tear a swath through the North American continent and maim a whole bunch of superheroes on the way. Instead, he kills Atlanteans and hapless humans on his way to Metropolis, in horror-inflected sequences that make the villain feel like Halloween’s Michael Meyers. When the hulking alien invader does face off against the Justice League, the fights are more brutal than they were in the comics, and the same is true for Superman’s showdown with Doomsday. When the two trade the final blows that end each other’s lives, I could hear audible gasps from the audience, despite the fact that most of them had to know what was coming. (Even if they haven’t read the original, it’s titled The Death of Superman, after all.)

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In the comics, Lois had known Clark’s secret for years. Here, she knows it for, at most, a couple of days before he dies. It presents a different kind of tragedy: a love story that was just starting out gets snuffed by heroic sacrifice. When Lois gets frustrated by Clark’s maladroit romantic signals, he tells her that he cares for her but just has trouble showing it. The moments where he does show it—by telling her that he’s Superman—are the best parts of the film, mixing humor, skepticism, and heartfelt relief.

Jerry O’Connell doesn’t do enough vocally to differentiate the two voices, but does a better Clark than Superman, delivering “earnest farmboy” better than “tough, resolute superhero.” Rainn Wilson’s best Lex Luthor moments have the billionaire scientist come across as a gleeful asshole who gets really whiny when he doesn’t get what he wants. In the main, the voice performances are all serviceable.

The oddest choice in Death of Superman—written by longtime comics scribe Peter Tomasi—is how heavily it leans on Jesus allegories. In the first act, crime boss Mannheim says he wants to get done with a robbery before attracting the attention of the “man upstairs.” He’s referring to Superman, of course, but the intent of the line is to invoke the idea of a God in Heaven. Later, after Superman has died, retired sailor Bibbo Bibbowski weedily recites the Hail Mary and asks God why Superman had to die. Even more Catholic influence can be seen in the moment where Lois and Jimmy Olsen race to Superman’s tomb after hearing something happened there. The tomb is empty and, just like the Apostles on Easter Sunday, they wonder if the Man of Steel might be alive. Superman’s parallels to Jesus has been a set of ideas, analyses, and coincidences that accrued over the decades, but mostly as subtext. To have it pulled so strongly into the foreground is jarring, but not so much that it dampened any enjoyment for me.

Advertisement

The change in continuity sets up even more tantalizing deviation in the inevitable sequel. The four characters who’ll fill the void left by Superman’s passing will have ties to Darkseid and Apokalips and a dysfunctional worship of what Superman is supposed to be. Furthermore, Superman’s resurrection will likely coincide with the world learning that he’s an alien, a revelation that could replace the hope of his return with fear of a superpower outsider. However, all this change sits right next to a great callback to Superman: The Movie, reminding viewers of the whole scope of Superman’s decades-long existence.

In this way, The Death of Superman film adaptation justifies its existence, making me want to see what gets remixed now and in the future while appreciating the things that have stayed the same.

From: https://io9.gizmodo.com/the-death-of-superman-movie-changes-up-a-classic-dc-com-1827775139

Action Comics Is Poised To ‘Redefine’ Superman & Lois’ Relationship

One of the big events to happen in the Man of Steel weekly series was Superman’s father, Jor-El, taking Lois Lane and Jonathan Kent out to the far reaches of outer space. Jor-El’s reasoning was for Jonathan to experience life outside of Earth, thereby connecting more to his Kryptonian roots.

According to DC Comics’ October 2018 solicitations, Lois and Superman’s time apart will come to a head in Action Comics #1004 when the couple meets back up, with the text teasing a redefining of their relationship.

RELATED: EXCLUSIVE PREVIEW: DC’s Flagship Title Returns With Action Comics #1001

What makes things dicier is Superman’s communicator that would have allowed him to keep in contact with Lois and Jon was destroyed in his battle against Rogol Zaar, leaving the Man of Steel unable to know if his family was in danger. Now, Action Comics #1004 reveals Lois is at least okay, though she’s returned to Earth without Jon, and didn’t immediately go back to Clark Kent after her return. The solicitation also goes on to ask whether Lois still loves Clark.

Check out the solicitation text for Action Comics #1004 and its cover below.

ACTION COMICS #1004

  • written by BRIAN MICHAEL BENDIS
  • art by RYAN SOOK
  • enhanced foil cover by STEVE RUDE
  • variant cover by FRANCIS MANAPUL
  • Superman confronts Lois Lane and wants answers: Where is Jon Kent? What happened during Lois’ trip into space with Jor-El? Why didn’t she contact the Man of Steel when she returned? And most importantly, does she still love him? Or is the world-famous reporter looking to let Clark Kent down easy? Lois and Clark’s relationship gets redefined in this issue illustrated by acclaimed artist Ryan Sook!
  • ON SALE 10.24.18
  • $3.99 US | 32 PAGES
  • FC | RATED T
  • This issue will ship with two covers.
  • Please see the order form for details.
  • Includes a code for a free digital download of this issue.

From: https://www.cbr.com/action-comics-redefine-superman-lois-lane-relationship/

The New Death of Superman Movie Turns Clark Kent Into Jesus

Superman and Lois have a tender moment in the middle of battle.
Screenshot: Warner Bros Animation

The Man of Steel still dies in the new Death of Superman animated movie. The biggest surprise in the film is how he lives his life before Doomsday takes him out.

At this point, part of the appeal of Warner Bros.’ animated adaptations of beloved DC Comics stories is watching to see what gets re-imagined. The current iteration of these films takes place in a world heavily influenced by the New 52 reboot. These adaptations graft pre-Crisis storylines onto a new continuity, which affords different angles, strengths, and weaknesses. In this version of The Death of Superman—which had a world premiere Comic-Con screening on Friday night— we get a more inexperienced Superman than the one from the classi 1992 storyline.

Advertisement

This Kal-El is still a member of the Justice League but doesn’t know much about his Kryptonian heritage. He wants to tell the world about his extraterrestrial origins through articles written by Lois Lane, but also struggles with how to balance the two sides of his life. This dilemma feeds the core tension of the movie, embodied in a version of Lois and Clark are entangled in a workplace love affair. After watching Superman trounce some bad guys, Lois pushes Clark into an office closet and they start making out. “You’re always on fire after seeing him,” Clark quips. They’re trying to keep their romance secret, a decision that suits both their needs. But Lois gets ever more frustrated by how Clark keeps her at arm’s length. When a planned weekend getaway comes into conflict with his parents coming into town, Clark stammers his way through explaining why it might be a bad idea for Lois to meet Jonathan and Martha Kent. They all get together but Lois can’t understand why Clark won’t really let her in to his life.

Meanwhile, conversations with teammates in the League make Clark consider doing exactly that. During a regularly scheduled meeting, Flash tells the team that he’s getting married and Superman is stunned to learn that Iris has known about the superhero side of Barry Allen’s life for years. Even Batman makes time for family, explaining that he can’t make the next meeting because it’ll be parent-teacher night at Damian’s boarding school.

Advertisement

This Superman is nervous, uncertain, and even a little paranoid. He wants to do the right thing but doesn’t know how Lois, or the world at large, will accept him if they find out what he truly is. The characterization is a good beat to land on in a universe where his career is essentially just starting out.

The other plot threads running through Death of Superman concern Lex Luthor’s maniacal need to find a counter-measure to Superman through the mad-science experiments of Project Cadmus, a crew of endangered space shuttle astronauts, and S.T.A.R. Labs research on hybrid Apokaliptian technology, which is being used by the criminals of Intergang. If you’re familiar with the whole arc of the 1992-1993 comics storyline, you’ll see these subplots for what they are, setting up the latter half of a two-part film narrative.

Because the backdrop for this version of Death of Superman is different, new choices get made to communicate a sense of threat. After making Earthfall, Doomsday doesn’t tear a swath through the North American continent and maim a whole bunch of superheroes on the way. Instead, he kills Atlanteans and hapless humans on his way to Metropolis, in horror-inflected sequences that make the villain feel like Halloween’s Michael Meyers. When the hulking alien invader does face off against the Justice League, the fights are more brutal than they were in the comics, and the same is true for Superman’s showdown with Doomsday. When the two trade the final blows that end each other’s lives, I could hear audible gasps from the audience, despite the fact that most of them had to know what was coming. (Even if they haven’t read the original, it’s titled The Death of Superman, after all.)

Advertisement

In the comics, Lois had known Clark’s secret for years. Here, she knows it for, at most, a couple of days before he dies. It presents a different kind of tragedy: a love story that was just starting out gets snuffed by heroic sacrifice. When Lois gets frustrated by Clark’s maladroit romantic signals, he tells her that he cares for her but just has trouble showing it. The moments where he does show it—by telling her that he’s Superman—are the best parts of the film, mixing humor, skepticism, and heartfelt relief.

Jerry O’Connell doesn’t do enough vocally to differentiate the two voices, but does a better Clark than Superman, delivering “earnest farmboy” better than “tough, resolute superhero.” Rainn Wilson’s best Lex Luthor moments have the billionaire scientist come across as a gleeful asshole who gets really whiny when he doesn’t get what he wants. In the main, the voice performances are all serviceable.

The oddest choice in Death of Superman—written by longtime comics scribe Peter Tomasi—is how heavily it leans on Jesus allegories. In the first act, crime boss Mannheim says he wants to get done with a robbery before attracting the attention of the “man upstairs.” He’s referring to Superman, of course, but the intent of the line is to invoke the idea of a God in Heaven. Later, after Superman has died, retired sailor Bibbo Bibbowski weedily recites the Hail Mary and asks God why Superman had to die. Even more Catholic influence can be seen in the moment where Lois and Jimmy Olsen race to Superman’s tomb after hearing something happened there. The tomb is empty and, just like the Apostles on Easter Sunday, they wonder if the Man of Steel might be alive. Superman’s parallels to Jesus has been a set of ideas, analyses, and coincidences that accrued over the decades, but mostly as subtext. To have it pulled so strongly into the foreground is jarring, but not so much that it dampened any enjoyment for me.

Advertisement

The change in continuity sets up even more tantalizing deviation in the inevitable sequel. The four characters who’ll fill the void left by Superman’s passing will have ties to Darkseid and Apokalips and a dysfunctional worship of what Superman is supposed to be. Furthermore, Superman’s resurrection will likely coincide with the world learning that he’s an alien, a revelation that could replace the hope of his return with fear of a superpower outsider. However, all this change sits right next to a great callback to Superman: The Movie, reminding viewers of the whole scope of Superman’s decades-long existence.

In this way, The Death of Superman film adaptation justifies its existence, making me want to see what gets remixed now and in the future while appreciating the things that have stayed the same.

From: https://io9.gizmodo.com/the-death-of-superman-movie-changes-up-a-classic-dc-com-1827775139

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