Lex Luthor is dying. In the course of plotting against Superman he’s poisoned his body beyond any cure… at least any cure he can find. But can Superman help? It’s a given that a hero as compassionate as Superman would attempt to save his worst enemy – on condition that if he succeeds, Luthor answers for his many, many crimes – but why would a jealous narcissist like Luthor ask him for help?
Knowing Luthor will have exhausted every avenue on Earth, Superman takes him to the streets of Kandor, where Kryptonian super-sciences may have something.
The Last Days of Lex Luthor by writer Mark Waid, penciller Bryan Hitch, inker Kevin Nowlan, colourist David Baron and letterers Comicraft is a Black Label mini-series, so not in regular DC continuity. As someone who grew up during comics’ Silver and Bronze Ages, though, the scenery here is pretty familiar (heck, the title is a reference to Sixties classic The Last Days of Superman). It’s not quite the same continuity, with Lex ignorant of some pretty important parts of Superman’s life and Clark apparently not having been Superboy, but the relationship between hero and villain is very familiar, as are the looks Lex sports in flashback.
Also, writer Mark Waid leans into the classic situation of Clark and Lex once having been friends. Lex is the new kid in town, and viewed as an oddball, while Clark knows what it feels like to be an outsider, and while Lex doesn’t know Clark’s origins, something chimes between them.
At base, Superman refuses to let go of the fact that Lex was his pal, someone he felt kinship with. He’s going to move heaven and earth to help the damaged kid that’s somewhere inside the man who does monstrous things.
I was knocked out by this first of three issues. Waid and Hitch love the Man of Steel and that love is on display on every page. We get wild action sequences, classic nuggets of the Superman Legend, iconic locations, and at the heart of it, the fascinating dynamic between Clark and Lex. The Smallville flashbacks are my favourite part of an issue that’s five-star all round. I can’t remember ever seeing such a convincing explanation of what it means to be Lex – it reminds me of Peter David’s peeling back of Quicksilver’s terrible personality back in the X-Factor days. And the presentation of Clark as a little lonely despite being surrounded by love is heartbreaking.
Also rather wonderful is how well Waid writes Superman’s powers, such as an amazing bit of business involving a spot of maths. And of course, there’s Superman’s biggest ‘power’ – his never-say-die attitude, something Lex is depending upon.
It’s wonderful to see Waid writing a big Superman story again after the outstanding Birthright series with Leinil Francis Yu 20 years ago. Waid is gifted with another excellent artistic partner here in penciller Bryan Hitch, one of comics’ best visual storytellers. The graphics are big and bold for the Super sequences but there’s a sense of intimacy when we’re in Smallville. Adult Superman has the look of a gentle fellow, while Lex doesn’t outright sneer, but there’s a mocking aspect to his gaze. Ma and Pa Kent aren’t in the comic much, but when they are Hitch nails the mix of wonder and concern that comes with parenting a Boy of Steel. Also, Hitch draws a great office… the detail behind Clark in the issue’s framing sequence is impressive and appreciated. And the lack of keylines around the flashback panels is a clever touch.
Kevin Nowlan, a formidable penciller himself, here inks, lending a quiet strength to proceedings. Inkers are few and far between in superhero comics these days; I challenge anyone to look at the work of someone like Nowlan, or Mark Farmer, or Klaus Janson and say comics are as good without their contribution.
Mostly today it’s the colour artists who have to provide embellishment, shading and so on, but with Nowlan working his magic, David Baron is free to weave his own spell. The colours help set the mood, from sun-dappled Smallville to the sci-fi glow of Kandor and far, far beyond.
Comicraft’s Richard Starkings and Tyler Smith turn in a nicely nuanced job, with just enough drama in the dialogue but nothing too showy; perfect for the story. Let’s shout out, also, editors Andrew Marino and Chris Conroy, book designer Kenny Lopez and Production person Tiffany Huang – we’d not have this handsome squarebound publication without their hard work. It’s just a shame The Last Days of Lex Luthor is on a bi-monthly schedule… why does DC do this to us?
There’s one thing I’d change about this comic – the cover. Sure, ‘Superman‘ is part of the title, but ‘Lex Luthor’ is the marquee name this time – where is he? He’s not on the cover next time either! Hitch and Baron have given us a pleasant Christ-like Superman, but still… And was the cover commissioned without Hitch being told he didn’t have the usual image depth? It’s crying out for a full-figure Superman.
Oh well, I’m not going to mentally mark down a Superman (and Lex!) story this good for want of feet. If you’re a fan of either of our protagonists, do not miss this comic. It’s an instant classic.
Too Dangerous For a Girl 2 
Glad this one’s getting good marks from you! I’ll be picking it up next week, and will read it (and your complete review, not just a skim) then. So glad to see Waid and Hitch working together in large format again. Their JLA: Heaven’s Ladder was incredible!
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You know, I don’t think I ever read Heaven’s Ladder, wasn’t it originally a treasury? I must tidy this.
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I am completely Jokered and Luthored out. Would I enjoy it when I’ve decided to skip to skip any all Luthor stories for the foreseeable future?
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Yes you would!
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Sweet Grace, this story was excellent. It reminded of what it means to be able to genuinely ascertain between good and great, otherwise you just become critical of anything that doesn’t meet your own personal standards. The Bronze Age feel was recognized nearly immediately. Pre-Crisis, Superman had five “worlds” Krypton, Smallville (as Superboy), Metropolis, Kandor, and the 30th Century with the Legion of Super-Heroes. Post-Crisis shrunk it to Smallville and Metropolis (because writers couldn’t managed it and DC didn’t get it), but Waid shows just how easy it is. I’m also convinced that DC has a moratorium on Superboy (Clark Kent). I am really unsure why, but it’s glaringly obvious at this point. The art is Turkish Delight. Best part what that panel where Superman cuts a look at Luthor that let’s us know this isn’t the Superman of the Modern age. He’s not “just a guy from Kansas”. No, he doesn’t trust Luthor, even though he’ll hep him, and he knows there is more going on than Luthor is divulging. Once a decade we’re treated to a definitive Superman tale, and this might be it. Shame I’ll have to wait two months for the next issue.
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Tremendous comments, Tan – I love the way you put it, the five worlds. I still miss that enormously rich tapestry. I wish DC would give us a sub-line of DC Universe tales set in the Bronze Age continuity.
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This was a brilliant read (I just now read it for the second time in two days). It’s definitely a classic, old-school Superman story. For one thing, while Lois has no role in this story, we can see from the lack of wedding ring on Clark’s finger that this is in a pre-Crisis mode. (I hope they don’t leave Lois out of the whole story to avoid confronting that choice.)
This reminded me most especially of Elliott S! Maggin’s delightful Superman novels, especially the first one, Last Son of Krypton. His tone for Luthor — effortlessly brilliant, appallingly and hilariously arrogant — is exactly what Maggin brought to those books. I think it’s the second novel, Miracle Monday, in which Maggin gives us a nanosecond-by-nanosecond description of Clark dismantling a tidal wave about to engulf Metropolis; Waid’s opening action sequence in Bangladesh reminds me very much of that.
When superhero comics started to get more complex and more sophisticated, DC jettisoned its old continuity with the Crisis. This feels like what modern comics storytelling + an uninterrupted connection to the Bronze Age and before might’ve been like. I’m really looking forward to the next issues.
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The great irony is that Superman’s world was complex and sophisticated Pre-Crisis. Post-Crisis drastically simplified Superman “just a guy from Kansas” with superpowers. Hindsight is always clear, but when you read this story, it’s obvious that DC didn’t have to go the hard reboot route with Superman.
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I completely agree. There was so much in the pre-Crisis Superman/DCU, and you could tell stories with any level of sophistication. I remember the last few years pre-Crisis when I’d see Action and Wonder Woman issues that seemed to aim very young while New Teen Titans, for one, aimed older/more sophisticated (as judged, in both cases, by my early teen self). There was a lot of room there for … pretty much anything, for anyone.
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Oh, I loved those last pre-Crisis Wonder Woman issues – I was reading a fantastic interview with Dan Mishkin in Back Issue the other day. Bring back Glitch!
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Spot on agajn, Tane!
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More excellent thoughts! The Maggin comparison is wonderfully appropriate. And I’m with you on Lois, I want to see her. Heck, give me Lana too. And Jimmy, Perry, Steve, Josh, Oscar…
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Brilliant book, a sort of classic story with a modern sensibility, things Waid is doing in World’s Finest for sure.
The whole burning lab reeks of a classic Lex/Superboy history. I suppose Clark is feeling guilty wondering if whatever this scene turns out to be is what put Lex on the path to evil.
But there is a ton to love. The classic Lex/Superman splash page, Kandor, the Smallville scenes. This all just sang to me making me want more immediately.
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Ditto, I’d love an ongoing Waid Superboy series.
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Double ditto! What is with the moratorium on Clark Kent having a career as Superboy? We need Alan Davis to do another book!
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We just need to persuade him out of that pesky retirement!
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