Superman: Last Son of Krypton (Action Comics (1938-2011))

So many dismiss Superman as a character impossible to relate to. Common arguments are 'he's too powerful,' 'he's not as cool as Batman,' or 'he's boring.' As much as these statements irk me, everyone is, of course, entitled to their own opinion. I believe that many of the people who feel this way have never read a Superman story which counters these arguments. This book does. This is one of the greatest, most humanizing, engaging Superman stories ever, and it may also be one of the most underrated. Firstly, the art caught my eye. Kubert's work is pleasing, not outstanding, but certainly enjoyable. He is able to capture the power of Superman and Zod, and renders character expression reasonably well. Perhaps the most glaring detraction of Kubert's work is the noticeable differences of quality between panels. Certain places and characters are drawn with exceptional detail and depth at certain points, while later on they seem cartoonish by comparison. What also hurts Kubert's art is the second act of this collection, which is penciled by Gary Frank. Frank's work is astounding. His Superman resembles Christopher Reeve, and looks every bit as heroic as he should. The skill he demonstrates at drawing facial expression may be unmatched. The reader is never in doubt about how a character is feeling. Frank is able to capture triumph and tragedy that can only be expressed through picture. The only con regarding Frank's work is that there is not nearly enough. The writing is superb. Donner and Johns together are able to craft a powerful story that ultimately levels two huge blows to Superman's life. The dialogue is fantastic and the exposition insightful. While this may not be Johns' most groundbreaking work, it is some of his most enjoyable. This book offers an established Superman, one at the peak of his abilities, who still faces convincingly tough opponents. Lois is given numerous points of good dialogue, and she never appears as a damsel in distress. Donner and Johns utilize her character as a protagonist, not a plot point. If someone ever complains that 'there are no good Superman stories,' have them read this. The book never gets boring, it was never a struggle to get through, and the ending is tragic gold. Is it worth the price? Unquestionably.

Well, first of all, I tend to purchase these series in the collector hardback (or paperback)version, so I will review this item alone without consideration to how it stands with other comic storylines. Although I may venture into comparing it (since it is from Richard Donner) to Superman and Superman II, and possibly Superman Returns. The artwork in graphic novels draws me in, and this book proved no exception. The colors recapture the "Superman feel," and the panels remind me of a movie storyboard. Donner and Johns get back to the Superman of the first two movies, and I know I'm not the first to suggest that this felt like a Superman III. Elements of the Superman mythology such as the Phantom Zone, Jor-El, Mon-El, and even Kryptonian history are given a tweaking and reintroduced in ways that renew one's interest in the original cinematic storylines. You should go see the Donner version of Superman II to understand more of what goes on in these books and of the personalities given to the main three Phantom Zone criminals. I didn't like Superman Returns, and felt that the "Superkid" storyline should have been left out altogether. This book gives to me a more plausible version of how there could be a Superkid, and of how he could fit into Superman's universe. I thought that the Superkid idea could have worked in Superman Returns based on the Donner version of Superman II, but the version people saw in the theaters had Superman sleeping with Lois AFTER his powers were removed, thus causing (to me, anyway) some confusion as to how she could've had a child with powers. All in all, a terrific read that stands out, too, for an interesting chapter to be viewed with the included 3D glasses. I wish Richard Donner had made more good Superman movies, but at least he graced us with another good story about the Man of Steel. Enjoy!

Superman Last Son is a surprisingly rollicking good romp of superhero goodness and a pretty fun and memorable superman story to boot. And believe me, in the long publishing career of this character, there are surprisingly (that word again) few excellent, memorable comic epics involving the Man of Steel, making Last Son all the more special. Although not a perfect collection, (I'll get to that in a bit), this story is definitely worth owning if you're a) a Superman fan; b) a Superman the Movie or Richard Donner fan; c) looking to read a cool superhero story; d) you like collected comic multi-part epics where something meaningful happens in every single issue. If any or more of that list above is you, you should buy this collection. Others have covered the plot of the story, so I won't go into too much of it here, but I wanted to focus on the aspects of storytelling and art that made this volume worthwhile for me. Story-wise, three things really jumped out at me. First, the plot. No pages are wasted here and no decompressed storytelling is apparent in any of these chapters. The story moves along at a brisk clip, has some surprising turns, (even Superman does some interesting things when he discovers Chris missing), and is most importantly, full of action! What's more, it's neatly and fully wrapped up at the end, which is rare in the modern comic industry. Second, the villains make the hero. Last Son involves Zod, and Johns and Donner are smart enough to recall the most impressive version of the character, namely the one created by Terrence Stamp, and in this volume, the character, together with his compatriots, Ursa and Non, form a perfect triumvirate of menace and destruction. Three, all the other characters, including Lois Lane, the supporting cast, and especially Superman, are well handled, three dimensional, and resonate with you as a reader. One sequence in particular which really epitomizes why Johns' and Donner's understanding of the characters, helps to make better, more compelling storytelling, is the Phantom Zone sequence involving Superman and Mon-el. In a heartbreaking scene in which Mon-el risks his life to save Superman, (who in some ways, has saved and condemned Mon-el all at once,) Superman must hurry to push Mon-el back into the Zone to ensure he doesn't die. Reflecting on Mon-el's fate and his own responsibility for Mon-el's misery in the zone, Superman can only say, "I'm sorry." The pain on his face is admirably captured by Kubert and the moment nicely encapsulates Superman's humanity and the tragedy of the situation the characters face. It's surprising in reading some of the other reviews, how little fuss gets made of Adam Kubert's art in this series. I can try to imagine why. Although a veteran in the comics industry now, Adam Kubert always struck me in the earlier days of his career as the "more talented" of the Kubert brothers. At the start of his career, he appeared to have a better, stronger command of anatomy, seemed a stronger, clearer storyteller than Andy, his brother, and employed an art style that was slightly less exaggerated, and perhaps also less obviously influenced by the flavor of the times, particularly when both he and his brother were just coming into their own at Marvel in the early 90s. Of late though, his art style has become more expressive, more stylistic and loose than his previous work, while Andy's has remained consistent in style, but is now consistently stronger in all those other areas (anatomy and storytelling) where Adam seemed more comfortable. The result of the evolution of Adam Kubert's art is a slightly exaggerated, more relaxed, and only occasionally cartoonish approach to Superman Last Son , but which nevertheless is highly detailed, visually dynamic and extremely accomplished in its staging. In fact, it's clear that Adam Kubert's very in control of his craft here, and is making very deliberate decisions about how he wants to present this story. It's also clear that he's been reading or spending quite a lot of time studying European graphic novels, whose approach to storytelling is visually more open and cinematic than North American pencillers generally tend to be. For instance, across the same two pages, he uses a combination of large, double page panels that emphasize the importance of the moment the writers are going for, with much smaller, very tight panels usually focused on a character or close-up, to evoke intensity. Alternatively, Kubert uses a full two pages with panel grids that go across both pages. In one funny sequence involving a conversation between a physically imposing Superman and fairly average, human, Lex Luther, the reader gets to enjoy the full range of both characters' reactions to each other. It's a conversation that is key to Luthor's character, who isn't the least bit intimidated by the Man of Steel, and Superman's reactions to the villain flow from indignant, defiant, to downright sympathetic (to Luthor's point of view) at times. As a reader, you could get the gist of the conversation even without the words. All his choices work superbly in this volume, so that the story reads with a scope that is reminiscent of a summer blockbuster in the best sense. As someone else said, it's like the pages are a really good, very polished storyboard for a movie of the graphic novel. Although my ideal would be for the tighter, more conservative Adam Kubert anatomy of his early career, to be fused with his present cinematic approach to page layout, I still think readers will be delighted by the different feel and scope of the art in this volume. It's just a pity Kubert wasn't disciplined enough to get the art out in a more timely fashion, or to have stuck around on Superman for a little longer. To be sure, part of the negativity initially associated with this story is related to the delays he caused to finishing it, and so that may explain why some are reluctant to give him the kudos he deserves. It's an all round pity, because he could have had a more lasting influence if he stuck around, but his brief work here is memorable nonetheless. My only complaint about this volume is the very silly, ill-advised gimmick on DC's part of including the 3D glasses as a cut out in the middle of the volume, and worst, actually having the part of the story taking place in the Zone rendered in a fuzzy, "3D" ready way. As it turns out, if you don't want to use the glasses, the art in a 5th of the book is basically indecipherable to you. This kind of gimmick is completely stupid. I can maybe understand offering a "3D" version of the story as a single issue when it originally came out, but surely DC should offer readers the option to buy a non "gimmicked" version and to see the regular art if they wanted. "3D" glasses in a hardcover edition makes no sense, and suggests to me this volume is for kids. I've therefore deducted one star for a boneheaded decision by DC. Overall though, I think everyone who reads this volume will come away happy. Coupled with the dynamic, creative and cinematic art, the characters in the story seem like the versions most people know and remember, even if they aren't regular readers of the Man of Steel's adventures. And all elements of a strong, clear, brisk plot, a great trio of villains, and heroes who are likeable and lovingly handled, make for a great time reading.

Last Son, the much hyped and maligned Superman storyarc from the team of Geoff Johns (arguably the best superhero writer today) and Richard Donner (director of the original Superman film), is a spectacular achievement that displays what might have been with future Superman film installments had Donner not been fired from the set of Superman II. What happens when Supes finds a young Kryptonian boy? He decides that he and Lois should raise him properly, even naming the boy Christopher Kent (in a tasteful ode to Christopher Reeve) in the process, but their new found familial happiness sadly doesn't last long. Soon enough, Kryptonian criminals General Zod, Ursa, and Non are free from the Phantom Zone and wreaking havoc on Metropolis. Brawls are engaged, uneasy alliances are formed, and plenty of nods, winks, and odes are given to Superman mythology and lore. While Last Son as a whole doesn't quite fit into the Superman continuity as of late, there's still something about it that makes it a wonderful read regardless. Adam Kubert's pencil work is great as well, and the 3-D Phantom Zone segment is something that needs to be seen to be believed. All in all, other than Grant Morrison's brilliant, quintessential run on All-Star Superman, Superman: Last Son is one of the best modern Superman stories you are likely to read. It was worth the delays and aggravation, and above all, is worth every second of your time.

"Last Son" takes what could be a disaster and transforms it into a wonderful story. The "Superson" concept sounds like a terrible idea altogether, but the way it's presented here is just amazing. It does a wonderful job of intertwining it with the characters as they exist in the current DCU and is a very entertaining story. Zod's involvement is well done and there's a Mon-El cameo for you Legion fans. And Luthor, Parasite, and Metallo get some of the action as well. This also has plot points that lead into the current New Krypton arc going on in all of the Superman books to this day so if you're interested in that as well, I think this is a particularly important story. It stands alone very well by itself too. That being said, there are some issues with continuity with the "Superman" book(this was printed in "Action Comics," the other Superman family book along with "Supergirl"). It's kind of hard to tell where arcs like "The Third Kryptonian" fit in. I'm guessing this was due to the fact that it was published somewhat erratically(I'm not sure why, perhaps art or script delays)and I guess they didn't want to give away the ending to this in "Superman" but I have no real idea. I recommend it to anyone interested in a Superman story, especially if they have ever wondered how he might act as a father.

I love this comic so much. The man who directed the first superman movie wrote it which is crazy. It's fun to read now that Jon exists but I really think it shows how powerful and kind superman is. Chris Kent will always be loved by me.

Two great arcs put into one novel. Art was fantastic with great writing and good stakes

Geoff Johns' run on Action Comics is certainly an interesting thing to behold. The first two arcs he wrote on the book were cowritten by Richard Donner, the man who brought us not just the first Superman movie but the first serious superhero movie of any kind. The third arc would give us a reinvention of Braniac that not only gave us something new with the character but tied the new elements with the old ones the character had. This book collects the first arc, Last Son of Krypton(for which the trade is named), and the third, Braniac. The first arc is an ambitious little story. It not only wants to tell us a story where the idea of Clark and Lois having a child together is taken seriously, but it also wants to introduce us to the first ever comic book versions of Zod, Ursa, and Non from the Donner films. How does it do? In short, nowhere near as good as it clearly wants to. First off, we never get to really know the child, named after Christopher Reeves. Oh sure, we understand that he's confused as to why he's on Earth and that he looks at Clark and Lois as parental figures, but other than that we never really know what he's like as a character. What are his interests? What doesn't he like? Is he always well behaved, or does he occasionally act out like a real child? We don't know. The sad thing is that this all could have easily been fixed if we had simply been given an issue to see what the dynamic between the kid, Lois, and Clark was like. There's also a noticeable lack of Daily Planet staff in these issues, which is rather lamentable as Johns would later prove he was very adept at writing them. This story isn't all faults, though. The relationship stuff between Lois and Clark is very well done, as is the process that ultimately leads to their choosing to adopt Chris. All of the rogues that appear here, especially Lex, are very well done. Then, of course, there's Zod, Ursa, and Non. Non is a very interesting character in that we're given the added backstory that he was Jor-El's mentor before the revolt that got him jailed, and that the council of Krypton apparently had him lobotomized so that he was the brute we see in the story. Ursa is very devout in her dedication to Zod and his cause. It's very easy to imagine that she was a soldier that fell in love with her commander once upon a time. She's also incredibly cruel and cunning. Zod himself is just as egotistical and malevolent as his film-counterpart. His plan is a very well crafted one, and the driving force of this book. All in all, I would give this story a 3.5 out of 5 if Amazon allowed for it. Then, there is Braniac, Johns' only solo writing credit on the book. This story sets out to give us a revamping of Brainiac's character that doesn't wipe out everything that came before it, and it does so rather well. The lack of the staff of the Daily Planet is gone in this story, and we get to see all of them interact in various humorous and well written ways. We also get to see Supergirl and her history with Brianiac/Kandor brought into focus. Her obvious trauma over not only Brianiac's attack on Kandor but her situation of having arrived so much later than expected on Earth is well executed, and makes her feel very human. Brainiac himself is the cold, calculating terror that he should be. He's almost like Galactus over at Marvel with how much he is feared by those in the cosmic parts of the DC Universe. 5 out of 5. I must, of course, mention the art done in the book by Adam Kubert and Gary Frank. Kubert's art is very expressive, and his panel layout is some of the most kinetic and interesting I've seen, certainly fitting for "Action" Comics. Frank's art is a sight to behold in its detail and beauty. From Brainaic's ship to a Superman lovingly made to look like Christoper Reeves it is clear to see just how much work he put into each page. So, that's Superman: Last Son of Krypton. The titular story is an ambitious tale that ultimately becomes just a little above average, and the second tale is truly stand out and memorable(for one reason I didn't mention in the review). All in all, this book definitely deserves a place on any Superman fan's shelf.

Boas e divertidas histórias. Ótimos desenhos. Tem que ser lido em smartphones por causa das cores, muito importantes para as histórias.

This was the first superman novel I'd purchased since the Doomsday series and I really enjoyed it. Here we have a superman who is poweful but vulnerable at the same time. The novel comes with a superb cast of characters, featuring General Zod, Lex Luthor and Braniac amongst others. I've always liked DC comics because they seem to explore more the angst and responsibility felt by superpowered people, where as more recently Marvel has gone more and more for the crash bang and wallop approach. This story definitely gives you a mix of action and story. The conclusion with Braniac is epic. I well recommend it to any superman fans.

Ich habe diesen Comic verschlungen! Die Autoren (große Namen wie Geoff Johns und Richard Donner sprechen ja schon von Haus aus für sich) haben eine richtig gute und spannende Story verfasst. Das einzig negative ist, dass der Comic an und für sich etwas kurz ist. Auch der Zeichenstil hat mir sehr gefallen. Es wurden sehr kräftige Farben verwendet, was speziell beim Kostüm von Superman sehr gut aussah, aber auch sonst einen sehr schönen Comic schuf. Das Papier ist ebenfalls sehr hochwertig. Die Zeichner haben klare Konturen gezogen... Alles in allem kann ich diesen Comic nur weiterempfehlen! Superman Fans werden ihn lieben und auch DC Fans im Allgemeinen werden ihren Spaß haben (Auftritte von natürlich Lex Luthor, Bizarro, Metallo, Zod, Batman, Wonder Woman, die letzten beiden jedoch nur minimal, und viele weitere!)

IMPORTANT FOR SUPERMAN WORLD

I picked this up first because of the Brainiac storyline - the drawings are a tribute to Christopher Reeve. The storyline is wonderful and smart. Last Son expands on one's knowledge of Zod and you get a deeper sense of Superman's caring feelings for those vulnerable around him. Beautiful and a wonder to read.