Here are cover scans and issue summaries for the four-part miniseries by Jeph Loeb and Tim Sale. I have decided to base the summaries for each issue solely on the action in the book; the narration will be covered in the "thoughts" on each issue, as well as my art, dialogue and continuity analyses.
Book One: SPRING
Summary: It is spring in Smallville, time to plant the crops, and Jonathan Kent is out in the field hard at work plowing. As he hits a rock and then tries to remove it from his path, a young Clark Kent comes out to help his father, lifting the rock out of the ground with one hand to the dismay of Pa. That night the Kents have supper with Lana Lang and her aunt Ruth, and after Clark walks Lana to her truck, he returns to his room, where he overhears Pa and Ma on the other side of the house worriedly discussing the changes he's been going through.
The next day Clark goes to the general store after school with his best friends Lana and Pete Ross, who can't stop talking about his desire to move out of Smallville. The three are discussing the big city of Metropolis and its most famous citizen Lex Luthor when Clark suddenly remembers he has an appointment for a haircut. When Clark sits in the barber's chair, his powers manifest themselves as he first looks through the wall at Pete and Lana still in the general store, then as the scissors of the barber break on Clark's invulnerable hair. Running home quickly, Clark passes a speeding locomotive, and once at home he has a heart-to-heart with Pa about how scared he is of what's happening to him.
A tornado comes through Smallville the next day, and as Pa and Ma are trying to tend to the farm animals, Clark gets picked up by the twister and whisked through town. He sees the gas station attendant in trouble and swoops down to save him mere moments before the twister hits the tank and it explodes. After Clark returns home and is helping with repairs, he is troubled by the fact that he could have done more to help. He goes to the local pastor looking for answers but finds none, so one night shortly after graduation he instead reveals his powers to Lana by flying her around the countryside. Lana tells him that he must use his power to help others so he must leave Smallville.
Time passes and we see Clark in Metropolis, already employed at the Daily Planet, already trying in vain to get Lois Lane's attention who at the time is dating Lex Luthor. Superman, however, has everyone's attention, through his headlines in the Planet and through his good deeds (like saving a young boy from falling off the ledge of a very tall building). But one man whose attention he has especially caught, and not in a good way, is Lex Luthor...
Thoughts: This issue is narrated by Jonathan "Pa" Kent and so all of the captions come from his perspective. This fact is evident from page one, in which the theme of the book is shown when Pa mentions that there was a time before he was world famous when he was simply a son.
How great is it that there's a pie cooling in the window on page two? And this spread also gives us the first glimpse of Superman's dog... no not Krypto but Shelby (as seen by name on the dog dish--don't ask me who the dog dish marked "Rusty" belongs to because that animal is not seen in this series). Shelby reappears throughout the whole four-issue mini as sort of a symbol of Clark's passing youth. He also just happens to share a name with one of Tim Sale's dogs.
Pa relates the story of how he and Martha found Clark in the rocket as a baby on pages four and five, mostly using the opportunity to characterize Martha as a bit stubborn. This leads into that beautiful moment on page six when Clark picks up the rock with one hand despite his father's protest; Pa says then that Clark has a lot of Martha in him. (Is Pa's consternation at the end of page six simply sour grapes that his son so easily did something that he couldn't? More likely it was that he was upset that his son is taking his abilities for granted.)
Aunt Ruth looks very different here from the way she did in the World of Smallville mini oh so long ago (where she was actually named Aunt Helen). But Tim's interpretation is much better, so no quibbles on my part. One minor quibble though comes when looking at Lana on page eight; her cheekbones are much too visible here, making her look a bit mannish and not like a sweet and innocent young girl.
The artwork of Lana walking next to Clark on page eight (and again on page twelve) depicts her as very small, making Clark look massive. Throughout the series in fact Clark is a head taller than everyone else in the story, which I think is a good trick Tim uses to artistically illustrate his stature. It forces all of the characters to physically look up to him, as they will come to emotionally as well.
The dialogue of Jonathan and Martha's conversation about Clark on pages nine through eleven are especially poignant, because they reveal not only Jonathan's worries about his son but Martha's intuition that all will be well. It also lets us know when the story takes place in Superman continuity, because Jonathan reveals that he only recently told Clark about the rocket. That means this story takes place around the same time as chapter one of issue one of Man of Steel. However some events are rearranged by Loeb, as in the Byrne origin Clark is shown the rocket and heads for Metropolis the next day (just after going to visit Lana). Here the decision took much longer.
The stars reflected in the glasses of Pa Kent on page nine will return in Clark's glasses in issue two, as will the pose Clark is lying in on his bed on page eleven (albeit in Metropolis then) and in book four when he returns home. These things will be used to show a transition for Clark into manhood, even as he longs to return to his childhood home. (Note about Clark's room on page eleven: a great detail can be found on the corner of Clark's bed. A Kansas City Royals baseball cap hangs from his bedpost, which is only natural for a good Kansas boy like Clark.)
The establishing shot of downtown Smallville in pages 12 and 13 is great because it sets up for us the fact that the barber shop and the general store are next door to each other (for the x-ray vision moment on page 16) AND we can clearly see the cop going into the barber shop here that is in the barber's chair in pages 16 and 17. And it's gorgeous.
This cop by the way, Chief Parker, reappears in issue four but he is also a bit of a staple in the Superman mythos, albeit a very small part. In World of Smallvile #3, when Lana disappears after Clark's revelation to her, her aunt searches for her desperately... and calls on the police and Chief Parker to help.
Love the back story Jeph sets up for all the folks in the general store (who we see more of in future issues). (Can't help but note that Morris shares a last name with the woman to whom Jeph dedicated TLH, Charity Klugh.) Love how distinctive Tim draws each of them. Love the characterization of the ever dreaming Pete Ross here, which will change throughout the series as he grow up. (Note how Pete rubs the elephant also; this action reminds me of a certain George Bailey of Bedford Falls making similar wishes on totems as a young man...) Also love the irony of their conversation about Luthor's philanthropism, since Pete here dismisses it but later in his life uses it to justify to Clark why he's running as his vice-presidential candidate!
But when Burt and Morris reminisce about Clark and Lana sitting in the same seats Jonathan and Martha did years ago (in which I can't help but get more Bedford Falls vibes), they're glossing over Martha's first husband Dan Fordman...
And Clark's expressions here are so... well, expressive. The shock of remembering something forgotten at the bottom of page 15, the wonder on his face with the X-ray vision episode, the shock and fear on his face when the scissors break... all emotions perfectly captured by Tim. But perhaps the best of all comes when Clark gets caught by the twister on pages 24 and 25. First he is afraid, but at the top of page 25, when he says "I can handle this" there's a sense of confidence and power in his face and stance that let you know he means what he says. And his torn shirt acts in a way as a cape, foreshadowing the costume to come.
Page 31: "I could have done more." And a hero is born. Wondrous!
The church on p. 32 will reappear, rebuilt, in issue four, so apparently Tom Landers (who was in the general store scene and will reappear in issues two and four) did an alright job, despite Pastor Linquist's worries.
Clark's revelation to Lana about his powers on pages 35-38 happened a little differently in Man of Steel. First of all, Lana was expecting to be proposed to in that story (which she may still be here I suppose). And in Man of Steel Clark carried Lana in his arms, not in the Superman movie manner shown on pages 36 and 37. But most importantly is the kiss on page 38. In Man of Steel 6 (and World of Smallville 3) Clark kisses her on the forehead. Here she kisses him on the mouth. Big difference, because in MOS Lana ended up leaving town after this because she was torn apart from having the secret. (and there's more to it than that, but I'll cover it with issue four's analysis.)
Two two-page spreads back to back perform a wonderful transition. First there's the spread on 40-41 of the sunset in Smallville. Some gorgeous work by Bjarne Hansen there. Then there's the cityscape of Metropolis on 42-43. And it's amazing how the two contrast, the vibrant colors and wide expanse of the sunset shot versus the busy skyline with much more muted colors. Very nice work there.
The headline "It Flies" appears on one of the three papers at the top of page 44, and it will recur throughout the story. Also the events shown here must take place sometime after issue two of Man of Steel, because that story ends with Perry White introducing Lois to Clark and here he has already been working at the Planet for a while. (Oh and catch that reference Lois makes, calling Clark "Smallville." Jeph carried that nickname over into his Superman run.)
We're introduced to Trevor on pages 46 and 47 (though we won't learn his name until much later). "Trevor, Superman's Pal" is who Tim Sale dedicated his work on this series too, so this boy shown here must be representative of someone Tim knows in real life. Hopefully the real life Trevor does not so recklessly play on ledges of high-rises.
Man, how well-written is the last ten pages or so of Pa's narration, truly suggesting what it's like for this father to deal with his son going off to start a new life? How gorgeous is that shot on page 47, displaying Superman's power and majesty while retaining that youthful innocence he had as Clark in the earlier pages? How Byrne-esque is Tim's depiction of Luthor on 48? and how much does it make you want to read the next issue?
Book Two: SUMMER
Summary: In Metropolis one bright summer day, Superman is patrolling the streets when he hears a strange noise. Flying high above the city to investigate, he comes face to face with a rocket that he pushes back away from the city, out of the atmosphere, and into the cold of space just moments before it detonates. After taking a moment to admire the view of the Earth from space, Superman flies back down, waving at the passengers of a passing plane as he dives under the ocean to find the submarine that fired the missile. On board the sub chaos reigns as Superman brings the vessel out of the water, causing great nervousness to a women draped in silhouette.
All of this action occurs in the presence of a nearby Lexcorp boat, who radio Lex Luthor so that he can be present at the Metropolis Air Base when Superman brings the sub in. Superman tears through the hull and orders the soldiers inside to surrender. They quickly comply save one, the commander, who grabs the woman from the shadows, who we now see is Lois Lane, and holds her hostage. Lex Luthor starts to try to negotiate but before he can act Superman disarms the terrorist. Lois then takes the soldier out with a swift kick. Lex offers to give Lois a ride back to the Planet so she can work on her story, but she asks Superman to fly her there instead. When he drops her off on the roof of the building, Lois warns Superman to be careful of Lex, but Superman does not heed her warning. As Lois returns to the newsroom she encounters Clark Kent and they exchange snide remarks.
Back in his apartment Clark is alone and, looking at a picture of his friends, he decides to visit home: Smallville. After greeting Pa out in the field, the family settles in for dinner, talking a bit about how their dog Shelby is getting older. The next day Clark goes to visit Lana but she is gone. Pastor Linquist is there tending to the house now that Ruth, Lana's aunt, has died, and the preacher tells Clark how proud the people of Smallville are of him... for becoming such a successful journalist. At the general store later Pete Ross tells Clark about the few postcards he received from Lana and how he regrets not leaving town as the two of them did. That night Clark tells his mother about how out of place he feels at times in the city, how he expected to feel at home in Smallville and how that didn't happen because of all the changes. Martha reassures him that he'll find his way soon enough.
Back in Metropolis a chemical factory that Luthor had planned to buy is in flames and Luthor's security drones are attempting to put out the fire. Superman arrives and although the drones say the building is clear he finds a woman unconscious amongst the flames and rescues her right before putting out the fire. Lois is there to interview this woman, a chemist at the plant named Miss Vaughn, and her words, "He is my angel," become the headline for Lois's front page story. The next day Lex Luthor appears at the apartment of Miss Vaughn (which is a virtual shrine to Superman) with a proposition for her on how they together can help Superman.
Thoughts: The captions this time come from the perspective of Lois Lane and so the early part of the narration, the first fifteen pages of it, really just deal with Lois's perspective on Superman in general not this specific story. Most of it is what you might expect: how the world has changed since he appeared, how his very existence is hard to believe but still manages to spark hope and wonder. One thing Lois mentions in her dialogue is that she often wonders why a person with as much power as Superman has would choose to use it for good as he does. This very question is something Lana Lang will deal with in HER narration of issue four.
Do you know why the two-page splash of Superman fighting off the rocker on pages six and seven is my favorite image of this whole darn series? It's the reflection of Supes in the rocket's shiny surface. Such a beautiful touch that pulls the image together in my mind, and I don't know if that's to Bjarne's or Tim's credit. (I also love how back on page two we can tell Superman hears something from his posture alone, without a sound effect added in.)
Don't ask me how Superman manages to speak underwater on pages fourteen and fifteen. I don't know nor am I anal enough to care (cue the laughter of anyone who's ever even glanced at this site at my claim that I'm NOT anal.)
And to prove I'm anal: 150 dollars a second times 60 seconds times 60 minutes times 24 hours times 365 days is... 4 billion, 730 million, 400 thousand dollars a year. Lex is one rich guy. (But I gotta say that even if I AM that rich, I still pick up a hundred dollar bill I find in the street.)
On page 22 Luthor loses his hat again, thanks to Superman's speed echoing what occurs on page 45 of issue one. A subtle and humorous way to show the hatred Luthor has for Superman slowly building (which of course comes to a head in the next issue).
And that humor is present again on page 26. First we get Clark emerging from a supply closet and the readjustment of the glasses, both classic moves. Then we get the nickname "Smallville" again from Lois. We have Clark stopping Lois in her tracks, furthering their flirtation and growing respect for each other's journalistic abilities. And finally we get the irony of Lois's final words to him, "We all have our little secrets, Clark. I'm sure even you do."
We get a shot again of Clark lying on his bed (and apparently eating a peanut butter sandwich) on page 28, echoing the same one-page scene from issue one. There his bedroom was cluttered, like that of a teenager. Here it is spartan and immaculate. Also notice the photo Clark looks at here is the same shot of graduation we saw in issue one. (And if you've ever wondered what Superman's address is, we learn on page 27 that it's 344 Clinton.)
The Smallville scenes really express that old adage "You can't go home again" in a beautiful and subtle way. You have Clark's loneliness on page 28, driving him home (an emotion he expresses verbally and in a beautiful bit of art in the middle of page 32). But things have changed at home, as he first notices when he sees that Shelby's getting older on p. 32. Also there's the fact that Lana's gone, which could be the major reason why Smallville doesn't feel like home to him anymore as he tells Ma on page 37. (Of course Lana's reasons for being gone will be explained to us in issue four's analysis.)
There is a bit of a gaff in the scene with Pastor Linquist. Clark tells the preacher he hasn't seen Lana in years... so how much time has passed since last issue? I thought this was all taking place in the span of one year, but maybe not.
But perhaps the most subtle way we can see that things have changed is in the general store scene. Pete Ross is older now; his two best friends are gone and he's been left behind. But he's still trying to grow up in his own way and that is evident in his rubbing the elephant. He still makes a wish on it, because he's not totally outgrown it, but he whispers it, as if he's ashamed for his friend to see him still acting in this childish way.
We have the return of the card players Morris, Burt, Tom and Caleb on page 36 (as well as Ed Carlman Jr. proprieter of the general store), showing that not everything has changed. But if you look in the background a story from the Daily Planet (which must have been written by Clark to be on the wall) is hanging there, showing that change is present even in this place that seems to always be the same. (and the headline's mention of Magpie lets us know that this issue takes place sometime shortly after issue three of MOS.)
If you didn't believe Clark Kent was a grown-up before page 37, you certainly do at that point. He's out and out expressing the feelings of how different things are now, and at the same time his glasses are glowing with stars just as his father's glasses did when he sat on the porch in issue one. Subtle means of showing the transition to adulthood, and the father-son relationship, but it pays off brilliantly.
Back in Metropolis in the chemical fire scene, we get some great stuff. First we see the Lexcorp drones for the first time in this series. They first appeared in issue five of MOS and are of course based on the old suit Luthor wore to fight Supes pre-Crisis. Love their design, and love it even more as drawn by Tim.
Tim also does some great work showing facial emotions again here. First he had started to show us Clark's contempt for Luthor at the bottom of page 36 when Pete talked about Luthor. But when he encounters the drones on 41 and 46, it's all over his face and it's powerful. Even more powerful is the sense of wonder and adoration in Miss Vaughn's face, starting even when her eye opens on page 42 and of course also obvious when she's rescued on 43 and interviewed on 46.
But again the best image of this sequence comes courtesy of Bjarne Hansen, on page 45. Superman with all that swirling fire around him wouldv'e been good as drawn by Tim, but is GREAT as colored by Bjarne. Major kudos here.
Several images on the last page recur in the series. The sign that reads "Metropolis Home of Superman" is a billboard in issues three and four. The "He Is My Angel" headline of course appeared on the previous page. And like the "It Flies" headline, the "A New Hero" headline will reappear in the newsroom of the Daily Planet in issues three and four.
