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It was time for a new Superman, and time to pick someone to put him down on paper. The Crisis on Infinite Earths series ended in March 1986, its time-warp gimmick obliging all DC characters to start their adventures from scratch, and nobody's career was more important to the company than Superman's. A bright young editor named Andy Helfer was assigned to follow veteran Julius Schwartz in managing the Man of Steel, but the question of choosing a writer and an artist was still up in the air. As things turned out, they were the same person. Helfer conferred with DC president Jenette Kahn, executive vice president Paul Levitz, and editorial director Dick Giordano, and when the smoke cleared, writer and artist John Byrne was selected to leave his mark on Superman. Byrne, who was born in England and raised in Canada, had made his reputation at rival Marvel Comics, first as artist on the hot title X-Men, later as writer-artist for other characters that needed a jolt of adrenaline. Although he developed a reputation as "Mr. Fixit," his specialty was perhaps not radical change as much as the kind of careful craftsmanship that made everything old look new again. "I prefer to play with the toys that are already there," he explained.
"If you're starting at zero, you have a whole bunch of bits and pieces to pick from," said Byrne, whose new Superman was largely a synthesis of various elements that had appeared before, including a return to Siegel and Shuster's original idea that Clark Kent didn't put on the costume until he was grown. This meant that Superboy no longer existed, but instead Byrne had planned to present a hero who didn't develop his powers until adolescence. Byrne also hoped to present an adult Clark Kent who "was only just learning to be Superman." There wasn't time for either version of an apprenticeship, however, since Byrne was expected to get Superman up to speed in just six issues of a biweekly miniseries called The Man of Steel. Launched in June 1986, it proved to be a hit, although not as much of a shock to regular readers as Byrne had initially intended. His wildest idea had been to show that the rocket speeding from Krypton to Earth carried not a baby boy, but rather his pregnant mother Lara, who would give birth and then die from exposure to kryptonite. Jenette Kahn wasn't convinced the change would improve anything, and successfully argued that since kryptonite was synthesized only when the planet exploded, there couldn't have been any in the ship.
A more humane change that did get into print left Superman's adoptive parents, the Kents, alive to serve as his allies and anchors. Meanwhile, at the suggestion of Crisis writer Marv Wolfman, archenemy Lex Luthor was booted out of the mad scientist business and recast as a ruthless tycoon with limitless resources. Byrne also dropped the idea that Superman had led people to believe he had another identity. "Why would he ever do that?" he asked. Now Lois Lane wouldn't be compelled to spend so much time trying to figure out who Superman was, Byrne reasoned. "I wanted to change all that. I wanted Lois to be a three-dimensional character who had more to her than just wanting to nail Superman as the ultimate catch." Lois also became the comic book version of a modern feminist: a weight-lifting, gun-toting, fist-fighting fashion plate. Perhaps because she was often beating up the bad guys herself, the Superman side of our hero became somewhat less important, and consequently Clark could be cooler. "After all," argued Byrne, "Clark Kent was who he really was, who he'd been most of his life. Superman was just a red and blue suit he wore." When Byrne was a boy, the comics had emphasized the Kryptonian heritage of Superman, but now the emphasis was on how well he functioned as an inhabitant of Earth |
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