When Superman does return it’s almost as bad, since he sports a mullet. It’s the now not quite as flabby mid-section with the replacement Supermen that’s the strongest, although as they’ve been absorbed into the wider DC canon long ago, this lacks the original tension of wondering if one of them actually was the returned Superman changed by his experience. If an excuse can be made for an extended form of prologue, the closing sequence is very obviously padded, and drags on far too long, in places plain poor. It’s arguable that the protracted sequence before Superman dies is necessary to establish the alien Doomsday as a near invincible foe via repeated encounters, but it’s also repetitive and therefore not as exciting as it ought to be. Despite the revisions, however, the faults and strengths of the original story remain. ![]() First Superman dies (in paperback as The Death of Superman), then some replacements turn up, one of whom may or may not be the original article ( Reign of the Supermen) and then Superman returns ( The Return of Superman). It jettisons a lot of dull content, primarily from the overly mawkish and time-marking Funeral For a Friend/ World Without a Superman collection, to get to the essence of what’s going on. Perhaps realising this, DC’s re-evaluation of the content makes for a tighter story, and can be seen as the comics equivalent of the music re-mix. As a story, however, it leaves a lot to be desired, very rarely spectacular, frequently substandard, embedded in its era and not treated kindly by time. ![]() ![]() The Death of Superman is a landmark story simply because of the widespread attention it drew well beyond the comic world when originally serialised in 19.
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