A giant robot attacking Metropolis isn’t an everyday occurrence, but it isn’t unique. Usually it’s a plot by Lex Luthor, or maybe Toyman, and once Superman has busted its butt and picked up whoever has the control box, that’s it.
But not today.
As he flies into space to follow the signal, Superman thinks about how much he loves Earth, how he grew up here, how one day a tornado hit Smallville…
Meanwhile, on the Justice League Watchtower.
And soon on Earth… everywhere.
A threat this big deserves a big treatment, and a double height treasury edition, with 73 pages of story, is just the ticket. And the creators are big too – Superman living legend Dan Jurgens turns in the clever script, while most of the story is drawn by modern master Bruno Redondo, with ink assists from Caio Filipe. Jurgens also provides the pencils for a key sequence, teamed with longtime inking partner Brett Breeding. Adriano Lucas, who worked with Redondo so successfully on Nightwing, colours the whole issue, while regular Superman letterer Dave Sharpe is also on board with his fabulous fonts. Everyone brings their A-game – to be fair, they always do – for a cinematic epic perfect both for regular readers and newbies picking up their first Superman book in the wake of the blockbuster opening this week.
While the story is set in recent continuity – in the Rebirth era, before son Jon’s unfortunate extended vacation – Superman’s memory sequence catches new readers and non-regulars up with his current storyline. It’s not just recap, though, it’s a key part of the story.
Longtime Superman readers may be reminded of one of the best stories of the Triangle era, Panic in the Sky – alien invasion, guest stars galore – but Jurgens, Redondo and co keep things fresh.
As for the villains of the piece… I’m not telling, as I don’t want to spoil too much in a comic this special, but they are familiar faces. One of them shows up regularly, the other is more of a surprise, but they’re both thoroughly entertaining.
That Hero For All subtitle is apt, as we see the relationship between Superman and the people of Metropolis a few times; it’s very well done.
The one thing I don’t like is the memory cameo by mad Jor-El, who really should be forgotten along with such other terrible ideas as Rogol Zaar. (‘Who?’, you ask. Good.)
Redondo takes every advantage of the larger format, with big panels, splashes and spreads aplenty, and his Superman looks magnificent. Highlights include, well, pick a page, any page. Or two… a hero shot of various DC good guys towards the end is superb. And a new Batmobile design has the best lights.
And it’s wonderful to see Jurgens art at a larger size. Where the script lets Redondo go big, Jurgens gets busy.
Just look at Superman – strong, confident, classic.
The cover is pretty darn great too. I opted for the Heroes and Villains variant by Scott Koblish, as I do enjoy a crowd. The joy of the good guys, the anger of the bad, it’s all depicted with bags of energy…. and surely no one can name all the alternate Supermen…
After the story there’s a four-page feature on the film, which goes nicely with the movie cover variant I didn’t get. I also didn’t get the main cover by Redondo, but safe to say it is gorgeous.
Something that makes me very happy is the first part of this comic’s title – Superman Treasury 2025, implying DC plans to give us more. Given this is DC’s first original treasury edition for a quarter of a century, we are long overdue. So come on DC, bring us more treasuries with a wide variety of stars. And with any luck they’ll be as excellent as this cracker.
Too Dangerous For a Girl 2 
Good issue. I respect Jurgens work and legacy on Superman. He can actually fill the issue with the characters he created, let alone Maxima and Cyborb Superman. However, this issue is For the Man Who Has Everything meets Panic in the Sky. Jurgens is a competent Superman scribe, but some of his choices are ill-fitting. Evil Jor-El should be erased from every DC Universe continuity and it being referenced here serves no purpose. Also, why is Lois Lane in the wide-shot with the rest of the Justice League of America? That is just Stanning to the nth degree. Lois is Superman’s wife. That doesn’t give her an all access pass to everything he’s involved in story-wise. Otherwise, it’s a perfectly serviceable story. Jurgens’ art brings back fond memories of me returning to Superman after leaving during John Byrne’s tenure. Seeing Jon as a kid again is always good. Oh, great review as always.
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like it or not, Jurgens wrote that evil Jor-El story. Jurgens is including his additions and notable tales. While I don’t like evil Jor-El, I think he wrote that story well so I get why it’s included. I’m all for retconning it and de-aging Jon.
-Matthew Lloyd
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Thanks for the kind words. You’re right about Lois being out of place in that big superhero scenes, and you know I agree about Jor-El. Whatever Geoff Johns’s original plans were for Mr Zee, they had to be better than a living, mad Jor-El.
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Finally sat down and read this, and it’s a terrific book. I can take or leave Jor-El, tbh; I’m not crazy about him, but it’s hard to excise him from continuity as long as Jon’s an adult now (even if he isn’t in this story).
My main quibble is actually the lettering. It seemed sized for normal comics, and too small for the grandeur of the book. It could stand to be bumped up a point size or two, and still wouldn’t detract from the art one bit.
And who expected to ever see Glyanna again, after that Jurgens/Weeks backup from a few years ago? I was happy to see her, even though I don’t really have any idea what she was doing in this story. But it’s always good to see a character you thought was a one-shot make a second appearance.
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Yes, I was surprised to see Glyanna and delighted I remembered her, it must be a couple of years. I was slightly disappointed Max has regressed.
I’d not noticed a problem with the lettering, your point is reasonable, certainly.
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It was fun and Redondo was at his best. I liked morally gray Jor-El and prefer Jon grown up, even if I can’t stand much of what was done with him post-Bendis. That Super Sons maxi was so interminable and boring it killed any desire to see tween Jon ever again.
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Awwwww Steve!
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