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superman86to99 · 7 years

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Superman: The Man of Steel #22 (June 1993)

REIGN OF THE SUPERMEN CONTINUES! Presenting John Henry Irons, a.k.a. Henry Johnson, a.k.a. Shaq-- uhh, STEEL. John is the big dude we saw emerging from the rubble of the Superman/Doomsday fight in Adventures #500. Now we find out more about his backstory: he was a military weapons designer who quit his job/whole life for some reason, and has been living in Metropolis’ Suicide Slum under an unfindable fake identity (he just switched his first and middle names around). A few weeks ago, John was saved by Superman after falling off a construction site -- so when the Doomsday battle broke out, John decided he should return the favor and save Superman. This didn’t go so well (for anyone), hence the whole “buried in rubble” thing.

(Note the “energy” being passed from Superman to John as he saves him. Artistic license, or something else...?!)

Anyway, once John is out of the hospital from that little incident, he sits down and tells the tale of his namesake John Henry to some Suicide Slum kids (including Superman’s pal, Keith the Unlucky Orphan, because this is a really small neighborhood). As the kids are leaving, they get caught in the middle of a gang fight and one of them is literally fried by some sort of hi-tech gun.

“You BASTARDS!” (Sorry.)

John chases after the gang members, and as they try to kill him for butting into their business, he recognizes their hi-tech weapons as his own design. When he gets out of the hospital (again), John decides to do something about it. With Superman dead, someone has to step up and protect the city, so John forges himself an iron-- uhh, STEEL armor designed for crime-smashing. John debuts his new heroic identity against the same gang from before after they come back to finish the job and firebomb his building.

John kindly asks the gang members where they got such sci-fi-esque weapons. Just as one of them is about to talk, he’s sniped by a mysterious lady with a big-ass gun, “The White Rabbit”. She seems to know John from before, and decides not to kill him because he might be "profitable” in the future. (I’ve got bad news for you, lady.)

Meanwhile, Metropolis is abuzz with news reports of John’s exploits. A psychic lady he saved when that building blew up explains that he’s not “a” man of steel but THE Man of Steel -- according to her, Superman’s spirit has returned from beyond and possessed the body of a man whose own spirit left him (John, after whatever happened that made him leave his old life). The still bed-bound Pa Kent seems convinced, while Lex Luthor Jr. is at least intrigued by the idea, and who knew Superman better than those two? No one. Welcome back, Superman!

Character-Watch:

The White Rabbit actually appeared briefly during John’s segment in Adventures #500, but I forgot to mention it. Here’s a gratuitous shot of her shorts to make up for it.

Plotline-Watch:

Futher evidence that John is the one true Superman: he says that when he was buried in the rubble, he saw "Fog. Angels and demons. I think my grandfather. He didn’t want me to die.” That sounds like a spot-on summary of what Superman’s soul went through in Adventures #500.

Poor Lois Lane’s life is bound to take a turn for the better now that the love of her life has returned: I mean Jeb Friedman, her douchey ex. To be fair, Jeb did wait like a week (comic book time) after Lois’ fiancee was presumed dead before putting the moves on her, so he’s not that bad.

I should also mention that Myra the Orphanage Lady has the hots for John -- she gets a new Halle Berry hairdo when she and Keith visit him in the hospital. You may now begin shipping them.

Lex Luthor Jr. orders his crony Dr. Happersen to find out who’s furnishing street gangs with futuristic weaponry. That’s his job, dammit!

And my job here is done, so click below to read the great Don Sparrow’s section:

Art-Watch (by @donsparrow):

Probably the most abrupt change from the Funeral for a Friend storyline comes in the pages of SMOS, where we’re thrown into an almost entirely new cast of characters (aside from the much loved Myra and Keith), a great departure from the Superman comics we know. We begin with the cover, which features probably the s-shield closest to the official one, with some slick, great looking Walk-Simonson-esque shading on the chrome of the insignia—this pattern will be a theme throughout the run of this character.

Inside the first page we get our first full look at John Henry Irons in full regalia, and it looks great. The colours help a lot in selling the metallic look, and I love the elements of his costume that are a cheat—There’s no way a metal mask could so closely follow the contours of John’s face, particularly as he speaks and emotes. But it looks awesome so we accept it.

As I mentioned, we can feel a bit lost being thrown into this story with a wholly unfamiliar character, so they subtly let us know which character we’re supposed to be following by helpfully putting him in the familiar red and blue as we first see him.

To my eye, in this storyline, Bogdanove abandons his usual slick, fluid, Fleischer cartoon look for a much hatchier, urban feel. The faces are more caricaturized (sometimes, perhaps, to a fault) and the action a lot grittier. Indeed, I don’t remember so much violence in the first couple pages of story since before the Doomsday storyline. The effect is intentional I think—we’re supposed to be horrified by the destruction these toastmaster weapons leave behind, but man, that smouldering skeleton of a teenager on page 4 is tough to take, as is the brock wall smeared with Irons’ blood at the bottom of page 5.

Still, even in his first appearance, Bogdanove has this character’s physicality and wardrobe very well established and down pat. The parachute pants go a long way in suggesting his athleticism, and also hint at a possible inspiration in the sports world, as Shaquille O’Neal was just entering the NBA (and rap and video game worlds as well) at the time. It might be a chicken or egg argument, but I suspect some of Irons’ look is based on Shaq’s, for better or worse.

The flashback sequence of Irons’ inspirational meeting with Superman is well-told, and there’s some interesting imagery as there appears to be some sort of beam transferring between them on page 8, lending credence to the “spirit walk-in” spin this book put forward. The full page splash on page 11 is a good one, as you really feel the heft of his hammer in his body gesture—though maybe a little more time could have been put into the face.

The low point follows soon after—no, not dead teenagers (though there will be more of them), something worse—Jeb Friedman makes his obnoxious return to Metropolis. Worse still, Lois dives into his arms knocking off his cowboy hat. Oh, yeah, apropos of nothing, he was wearing a cowboy hat, by the way. [Max: He seems more like a fedora kind of guy.]

Page 15 has a great look at Irons’ mask, as he perches, Batman-style, on a rooftop before jumping in to bust the gun-runners. More dead torsos follow as one of the gang gets disemboweled (and then some) in order for the Toastmasters to blast Irons. The cracked image of Martin Luther King is an effective way of relating some of Irons’ guilt—his actions in the past certainly haven’t advanced Dr. King’s noble causes. Rather, they’ve just made the streets a deadlier place.

We get a good look at Irons’ array of weaponry in the story as well, as page 19 features his gauntlet, which, appropriately for his namesake, drives steel railway bolts (I’ll just accept that Irons is a great shot, and ignore how utterly deadly that would be as a weapon). We’re then introduced to the White Rabbit, our apparent villain, in booty shorts as revealing as a code book would allow at the time. [Max: See above.]

There’s a LOT of exposition to get through, and the issue does a good job of all of it—Irons’ guilt at having dedicated his life to weaponry, and donning a costume to atone (shades of the first Iron Man film), some interesting issues with power, race and inner-city crime (with both gangsters like the White Rabbit and big businessmen like Luthor trying to take full advantage) some history on Irons’ own tragic childhood, and also some upsetting scenes with Lois and Jonathan Kent dealing with the emergence of all these new characters.

STRAY OBSERVATIONS:

Does John Henry have eyebrows? They seem to be missing in his closeup shot on page 4, and elsewhere.

GODWATCH: John Henry prays he’s wrong when he sees the what looks like an old weapon of his on page 4.

The story makes a couple mentions of Irons’ voice as being like Darth Vader, and later the voice of God. Emphasiszing someone’s voice is an interesting way to establish character in a silent medium like comics, but definitely does help us flesh out who he is.

I’ll admit, I’ve heard better pickup lines than “Superman is dead and Clark is dead.” Bizarrely, it seems to almost work.

I remember reading an article (I think it was in Wizard magazine) about the spirit walk-in idea, and either Simonson or Bogdanove saying that the psychic would decidedly NOT sound like Mike Myers’ Linda Richman character from SNL. In spite of their assertions (or maybe because of them), that’s how she sounds in my head, so they might have been better off not even bringing her up. [Max: Dang, now you’ve passed on the curse to me! Hey, maybe she was possessed by Mike Myers’ ghost?]

#superman #louise simonson #jon bogdanove #dennis janke #steel #keith #myra #jeb friedman #sydney happersen #pa kent #psychic lady whose name is given but i can't remember and i'm not even sure if she shows up again #linda richman #reign of the supermen

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