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Elseworld "German Cinema" trilogy #1
Superman's Metropolis
In an undetermined future, the giant city of Metropolis is starkly divided between upper classes who live in luxury and lower classes who toil under harsh conditions. Clarc Kent-son, son of Jon Kent, the Great Architect and apparent Master of Metropolis, becomes aware of the social inequality after meeting Lois, a teacher from the undercity. He joins the workers to experience their daily lives, then begs his father to improve their lot, but in vain. In reality, the city is in thrall to the scientist Lutor, an old colleague of Jon Kent from before the "time of smoke and soot" that came before the foundation of Metropolis. Both Jon and Lutor fell in love with the same woman, Marta. When she chose Jon over Lutor, the scientist killed her, then used advanced hypnosis to turn Jon into his mind-slave.
Concerned about a potential revolution, Lutor identifies its leader, Lois, who prophesies about a coming savior who will reunite the city. Later, Lutor captures Lois and uses her to create a robotic duplicate which he names Futura that will lead the workers to their doom. Meanwhile, Clarc discovers that he was a foundling adopted by Jon and Marta after he was found in a capsule that fell from the sky, and that Lutor, who discovered his powers while trying and failing to kill him along with his mother, blanked away his memories and blocked off his powers, turning him into a social drone.
As Futura, disguised as Lois, leads the workers to a doomed rebellion, Clarc, now the Super-Man, the savior of Metropolis, intervenes. He fights, and defeats Futura by throwing her into a tank of molten metal. Meanwhile, Lutor reveals his metallic body powered by a kryptonite heart. He kills Jon Kent who, in the end, sacrifices his life for Clarc. Lutor is later destroyed by Clarc after a fierce battle. Clarc and Lois become the new, enlightened rulers of a reunited Metropolis.
Concerned about a potential revolution, Lutor identifies its leader, Lois, who prophesies about a coming savior who will reunite the city. Later, Lutor captures Lois and uses her to create a robotic duplicate which he names Futura that will lead the workers to their doom. Meanwhile, Clarc discovers that he was a foundling adopted by Jon and Marta after he was found in a capsule that fell from the sky, and that Lutor, who discovered his powers while trying and failing to kill him along with his mother, blanked away his memories and blocked off his powers, turning him into a social drone.
As Futura, disguised as Lois, leads the workers to a doomed rebellion, Clarc, now the Super-Man, the savior of Metropolis, intervenes. He fights, and defeats Futura by throwing her into a tank of molten metal. Meanwhile, Lutor reveals his metallic body powered by a kryptonite heart. He kills Jon Kent who, in the end, sacrifices his life for Clarc. Lutor is later destroyed by Clarc after a fierce battle. Clarc and Lois become the new, enlightened rulers of a reunited Metropolis.
64 pages, Paperback
First published January 1, 1996
2 people are currently reading
131 people want to read
About the author
Jean-Marc Lofficier
406 books23 followersJean-Marc Lofficier is a French author of books about films and television programs, as well as numerous comic books and translations of a number of animation screenplays. He usually collaborates with his wife, Randy Lofficier
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Displaying 1 - 30 of 36 reviews
October 17, 2023
This is a strange kind of thing - Elseworlds were what used to be called "Imaginary Stories" back in the Silver Age or What If from Marvel, back in the 70's, now just packaged better and pricier - but it's the same essential thing - non-continuity/non-canon stories placing recognizable characters in new scenarios. So you get stuff likeBatman: Gotham by Gaslight (what if Bruce Wayne became Batman in the Victorian era?) or Superman: Red Son (what if Superman landed in Soviet Russia?). Left to their own devices, this kind of thing could get silly - What if Oliver Queen became Green Arrow during the Irish Potato Famine? Or, I don't know, what if The Atom were a Certified Public Accountant in Edwardian England (it would have to be called DIMINISHING RETURNS, I guess).
So here we have the first of three books where some DC characters are grafted into silent film scenarios. The connections are tenuous at best - Superman re-envisioned in the milieu of Fritz Lang's METROPOLIS, because, well, Superman is stationed out of Metropolis, right? So there's your connection right there...right?
And, oh, it's serviceable enough. I always liked Ted McKeever's chunky, blocky, non-pop art style ever since I first picked up TRANSIT and Eddy Current off the stands, and he does a good job evoking a non-sleek, non-futuristic "future" of worker drones and grimy technology (his artwork *looks* like part of the silent film era). And the dialogue, while clunky and overblown at turns, does what it's supposed to. Clarc Kent-Son, child of the Master who runs the city, discovers that his entire life is a lie, his origins otherworldly, his father the pawn of evil megalomaniac Lutor. The abused workers sweat and strain at the big dials (yup!), slowly being fomented into revolt by underground agitator Lois, as Lutor moves to replace the workers with machines, grinding the masses under his feet. Clarc is lured into danger by a mechanical doppelganger of Lois, a robotic women (yup!) who, when he has finally attained his birthright of savior-like abilities, stands as an equal force in opposition. There is a fight - good is triumphant.
There are some oddities here - Lutor is both the pre-John Byrne, classic silver age mad scientist Lex Luthor, post-Byrne powermonger with a missing hand and also, strangely, part Metallo analog with a heart of Kryptonite. Other familiar characters (Jimmy Ol-son, Dan Turpin, Perry White) are scattered amongst supporting roles. McKeever's redesign of the Superman costume as an almost soviet-soldier jacket (no cape) is cool, and one scene actually feels like a silent film (Lutor malevolently dogging Lois through underground tunnels). Still, I can't help feeling like asking "why" after it all. Superman, in his original Simon/Schuster form, was something of a hero of the working man, notoriously tormenting slumlords and greedy capitalist pigs along with gangsters and thugs (criminals by any other name) back in the 40s, before he could fly - but that original root resonance is not really here in Roy Thomas and Jean-Marc Lofficier's script - or so buried under "savior" gilding that the point becomes muddled (how deserving are the masses of saving if this can only be achieved by one "greater" than themselves?)
So I finish unsatisfied, with very little desire for reading the other two comics set in this world...and yet, Batman re-envisioned as a mingling of NOSFERATU and THE CABINET OF DR. CALIGARI (Batman: Nosferatu)? I always liked both those films better than METROPOLIS...hmmmm....
So here we have the first of three books where some DC characters are grafted into silent film scenarios. The connections are tenuous at best - Superman re-envisioned in the milieu of Fritz Lang's METROPOLIS, because, well, Superman is stationed out of Metropolis, right? So there's your connection right there...right?
And, oh, it's serviceable enough. I always liked Ted McKeever's chunky, blocky, non-pop art style ever since I first picked up TRANSIT and Eddy Current off the stands, and he does a good job evoking a non-sleek, non-futuristic "future" of worker drones and grimy technology (his artwork *looks* like part of the silent film era). And the dialogue, while clunky and overblown at turns, does what it's supposed to. Clarc Kent-Son, child of the Master who runs the city, discovers that his entire life is a lie, his origins otherworldly, his father the pawn of evil megalomaniac Lutor. The abused workers sweat and strain at the big dials (yup!), slowly being fomented into revolt by underground agitator Lois, as Lutor moves to replace the workers with machines, grinding the masses under his feet. Clarc is lured into danger by a mechanical doppelganger of Lois, a robotic women (yup!) who, when he has finally attained his birthright of savior-like abilities, stands as an equal force in opposition. There is a fight - good is triumphant.
There are some oddities here - Lutor is both the pre-John Byrne, classic silver age mad scientist Lex Luthor, post-Byrne powermonger with a missing hand and also, strangely, part Metallo analog with a heart of Kryptonite. Other familiar characters (Jimmy Ol-son, Dan Turpin, Perry White) are scattered amongst supporting roles. McKeever's redesign of the Superman costume as an almost soviet-soldier jacket (no cape) is cool, and one scene actually feels like a silent film (Lutor malevolently dogging Lois through underground tunnels). Still, I can't help feeling like asking "why" after it all. Superman, in his original Simon/Schuster form, was something of a hero of the working man, notoriously tormenting slumlords and greedy capitalist pigs along with gangsters and thugs (criminals by any other name) back in the 40s, before he could fly - but that original root resonance is not really here in Roy Thomas and Jean-Marc Lofficier's script - or so buried under "savior" gilding that the point becomes muddled (how deserving are the masses of saving if this can only be achieved by one "greater" than themselves?)
So I finish unsatisfied, with very little desire for reading the other two comics set in this world...and yet, Batman re-envisioned as a mingling of NOSFERATU and THE CABINET OF DR. CALIGARI (Batman: Nosferatu)? I always liked both those films better than METROPOLIS...hmmmm....
October 10, 2017
Superman merged with the movie Metropolis just because Superman lives in Metropolis. The meshing does not work at all. We're left with a lifeless story with highly stylized, terrible art.
June 23, 2021
The art may evoke the source film, but the style is sloppy, bruised, and off-putting. The story is even less accessible, since so many today are unfamiliar with the film it draws from aside from an image or two, and the theme of revolution among the workers is always off-putting.
April 29, 2021
This was back when comics could afford to take weird risks, and thus was born DC’s Elseworlds. This imprint’s comics were alternate realities which deviated from the established continuity of DC's regular comics. This had been done before with DC “imaginary stories” in some of the 1950s and 60s and the Marvel title What If - BTW why haven’t they collected any of the second volume of What If which came out in the late 80s? All mine where destroyed by a flood, I remember them being pretty good. Elseworlds however went above and beyond, putting the characters into radically different scenarios and settings. The most classic being probably Red Son where Superman lands in Russia instead of Kansas, The Doom Which came to Gotham, Mike Mignola’s Lovecraftian Batman take, and of course Kingdom Come.
This book combines the origin of Superman with the legendary silent film sci-fi masterpiece Metropolis. It’s incredible how well these two stories connect. This story essentially retells Metropolis’ plot with the cast of Superman in its place. They’re all there - Clark Kent, his father and mother, Jimmy Olsen, Perry White, Lex Luthor, Lana Lang, and Lois Lane. Interestingly, the metaphor of the original is underlined by the use of Superman, since the film hyper-textualizes various aspects of Neitzian philosophy, ie. the rise of the Superman to dominate society. This is reflected in a literal way with Superman having been “technologically hypnotized” by Luthor to forget his alien past and his superpowers. Thus when the moment comes for the Superman to arise, he literally finds his power and destroys the oppressor.
The only snag I would say is that if you haven’t seen the film Metropolis then you are missing out on the nuisances of this work and McKeever’s artistic style which blends itself perfectly to the German Expressionism of the 1920s. Without the context, it’s just a weird Superman story in an old fashioned sci-fi setting.
This book combines the origin of Superman with the legendary silent film sci-fi masterpiece Metropolis. It’s incredible how well these two stories connect. This story essentially retells Metropolis’ plot with the cast of Superman in its place. They’re all there - Clark Kent, his father and mother, Jimmy Olsen, Perry White, Lex Luthor, Lana Lang, and Lois Lane. Interestingly, the metaphor of the original is underlined by the use of Superman, since the film hyper-textualizes various aspects of Neitzian philosophy, ie. the rise of the Superman to dominate society. This is reflected in a literal way with Superman having been “technologically hypnotized” by Luthor to forget his alien past and his superpowers. Thus when the moment comes for the Superman to arise, he literally finds his power and destroys the oppressor.
The only snag I would say is that if you haven’t seen the film Metropolis then you are missing out on the nuisances of this work and McKeever’s artistic style which blends itself perfectly to the German Expressionism of the 1920s. Without the context, it’s just a weird Superman story in an old fashioned sci-fi setting.
October 2, 2018
Superman's Metropolis is an Elseworlds imprint. Written by Jean-Marc Lofficier, Randy Lofficier, and Roy Thomas and illustrated by Ted McKeever. It is patterned after the film Metropolis, which has in fact been the inspiration of the city in Superman canon. It is the first part in a trilogy based on German Expressionist Cinema.
In an undetermined future, the giant city of Metropolis is starkly divided between upper class that live in luxury and lower classes who toil under harsh conditions. Clark Kent-son, son of Jon Kent, the Great Architect and apparent Master of Metropolis, becomes aware of the social inequality after meeting Lois, a teacher from the undercity. He joins the workers to experience their daily lives, then begs his father to improve their lot, but in vain.
In reality, the city is in thrall to the scientist Lutor, an old colleague of Jon Kent from before the "time of smoke and soot" that came before the foundation of Metropolis. Both Jon and Lutor fell in love with the same woman, Marta. When she chose Jon over Lutor, the scientist killed her, and then used advanced hypnosis to turn Jon into his mind-slave. Clark Kent-son took on the guise of Superman to save and revolutionize Metropolis.
All in all, Superman's Metropolis is written and constructed somewhat well and it was somewhat successful in mixing the worlds of Superman with German Expressionist Cinema.
In an undetermined future, the giant city of Metropolis is starkly divided between upper class that live in luxury and lower classes who toil under harsh conditions. Clark Kent-son, son of Jon Kent, the Great Architect and apparent Master of Metropolis, becomes aware of the social inequality after meeting Lois, a teacher from the undercity. He joins the workers to experience their daily lives, then begs his father to improve their lot, but in vain.
In reality, the city is in thrall to the scientist Lutor, an old colleague of Jon Kent from before the "time of smoke and soot" that came before the foundation of Metropolis. Both Jon and Lutor fell in love with the same woman, Marta. When she chose Jon over Lutor, the scientist killed her, and then used advanced hypnosis to turn Jon into his mind-slave. Clark Kent-son took on the guise of Superman to save and revolutionize Metropolis.
All in all, Superman's Metropolis is written and constructed somewhat well and it was somewhat successful in mixing the worlds of Superman with German Expressionist Cinema.
November 16, 2020
An Elseworlds story which mashes-up Fritz Lang's seminal silent science fiction movie Metropolis with story of the Man of Steel.
As with many of the Elseworlds books I've read, this one never gets beyond it's own satisfaction at how clever it thinks it is for it's 'what if...?' scenario.
The film Metropolis is not only iconic and influential but also loaded with metaphor and meaning. All of that is lost here, with the writers just swapping in some familiar faces and adding the Superman (Clarc Kent-Son) and Lex Luthor (Lutor) emnity into it. There is no subtlety or subtext whatsoever and, rather than homage, this feels like something of an insult to Fritz Lang's masterpiece.
The one good thing about this book is McKeever's interesting redesign of the Superman costume but beyond that you should probably just actually watch Metropolis and not bother with this book.
* More reviews here: https://fsfh-book-review2.webnode.com/ *
As with many of the Elseworlds books I've read, this one never gets beyond it's own satisfaction at how clever it thinks it is for it's 'what if...?' scenario.
The film Metropolis is not only iconic and influential but also loaded with metaphor and meaning. All of that is lost here, with the writers just swapping in some familiar faces and adding the Superman (Clarc Kent-Son) and Lex Luthor (Lutor) emnity into it. There is no subtlety or subtext whatsoever and, rather than homage, this feels like something of an insult to Fritz Lang's masterpiece.
The one good thing about this book is McKeever's interesting redesign of the Superman costume but beyond that you should probably just actually watch Metropolis and not bother with this book.
* More reviews here: https://fsfh-book-review2.webnode.com/ *
June 12, 2025
This is really just Metropolis, but with Superman characters. The plot plays exactly the same except the hero is secretly a super powered alien and the only way that really changes the plot is that it makes the fight at the end more flashy and there's Superman imagery and metaphors. It's a bit odd to have Superman in a futuristic, seemingly utopian (of course there is a dystopian underbelly) setting. And being essentially the prince of this world is a far cry from being a farm boy so I was wondering if maybe Metropolis and Krypton are being amalgamated here, but no, it's still Earth, Superman is still an alien. Maybe there are objections that could be made about incorporating Superman elements (this thing was probably only made because of the common name of the setting), but I really enjoyed what is essentially a comicbook adaptation of Metropolis. I liked the writing, I liked the art, the general style and it got me interested to check out the original novel.
September 15, 2021
From the cover, this looked like a nice Deco to Dieselpunk launch title to build upon the universe established by the 1927 film Metropolis. Rather than this, however, it's a re-telling of the movie inserting Superman as the protagonist. So...I guess this is for those who have never seen the movie? I'd go a step further to say it detracts the movie by adding text that is otherwise a pictorial interpretation by the movie viewer. I could not finish this comic. I already knew the story. The cover looks neat though, as does Superman's costume on it.
January 28, 2026
3.5 stars
I went into this read not knowing what to expect at all, but when I found myself reading a Superman comic in the setting of an allegorical dystopian steam punk world with Picasso-esque art I was sold pretty quickly. I always enjoy finding the characters I already know placed into new worlds and roles, and this comic had surprising takes on every one. I will say that due to its length it is of course rushed, so the only thing keeping it from higher stars is a lack of further fleshing out and a fast resolution. Otherwise, a fun elseworlds read that I’d pay to see in a full run.
I went into this read not knowing what to expect at all, but when I found myself reading a Superman comic in the setting of an allegorical dystopian steam punk world with Picasso-esque art I was sold pretty quickly. I always enjoy finding the characters I already know placed into new worlds and roles, and this comic had surprising takes on every one. I will say that due to its length it is of course rushed, so the only thing keeping it from higher stars is a lack of further fleshing out and a fast resolution. Otherwise, a fun elseworlds read that I’d pay to see in a full run.
September 4, 2019
Elseworlds can be diminishing returns. While it is fun to play with the Multiverse and see how maleablr can be, not every project works.
A fusion of Superman and Fritz Lang's Metropolis results in a stylized comic that feels a bit of a stacatto. Neither the art nor the writing totally resonate. Even though it probably could have.
This is superhero as socialist hero and social reformer.
He is the mediator. The understanding between the hands and the brain. He is the heart.
A fusion of Superman and Fritz Lang's Metropolis results in a stylized comic that feels a bit of a stacatto. Neither the art nor the writing totally resonate. Even though it probably could have.
This is superhero as socialist hero and social reformer.
He is the mediator. The understanding between the hands and the brain. He is the heart.
November 14, 2020
Read as part of the Elseworlds: Justice League Vol. 2 collection.
I've always had a soft spot for McKeever's art, though some find it ugly. It really is a great fit for a story that draws inspiration from German expressionist silent films. However, the story itself seems to shove too much in, with over half the dialogue being clunky exposition (hmm, what happened to the "silent" film inspiration?).
I've always had a soft spot for McKeever's art, though some find it ugly. It really is a great fit for a story that draws inspiration from German expressionist silent films. However, the story itself seems to shove too much in, with over half the dialogue being clunky exposition (hmm, what happened to the "silent" film inspiration?).
September 22, 2023
Haven't seen many expressionist movies. I liked the art in this mash-up. Seems like they took a lot of lines from the film treatment of Metropolis. The top reviewers on here want you to know they have Seen The Film and, believe it or not, this 60-page comic book about Superman actually Lacks The Nuance of Fritz' Lang's 2-hour silent German expressionist motion picture, Metropolis (1927). ¯\_(ツ)_/¯
I thought it looked cool. I would make it a point to read comics with superheroes if they actually ever did experimental stuff like this, instead of just barely upending the genre with the gritty Watchmen knock-offs where superheroes turn out to be fascist. It’s fun when art makes you want to make it yourself or learn all about it or discover more like it, and this has inspired me to go watch some old German movies about Peter Lorre-lookalikes getting disfigured by conveyor belts in a noir factory and suchlike. 🏭 🤕
I thought it looked cool. I would make it a point to read comics with superheroes if they actually ever did experimental stuff like this, instead of just barely upending the genre with the gritty Watchmen knock-offs where superheroes turn out to be fascist. It’s fun when art makes you want to make it yourself or learn all about it or discover more like it, and this has inspired me to go watch some old German movies about Peter Lorre-lookalikes getting disfigured by conveyor belts in a noir factory and suchlike. 🏭 🤕
December 2, 2023
"Superman's Metropolis", the first volume in DC's Elseworlds German cinema trilogy, inserts familiar characters from DC's Metropolis into the world of Fritz Lang's "Metropolis". This book cleverly captures the Zeitgeist of the original movie in a reimagined Superman origin story that is seamlessly blended with the movie's original plot and manages to maintain the positive and progressive themes often associated with Superman.
May 6, 2025
In the great cultural cement mixer, it had to happen sooner or later - a retelling of Fritz Lang's Metropolis with Superman characters. Who is this for? Not for the comic book obsessives, as the heroes depicted here are unrecognisable in almost any way. And not for the movie history buffs, because what could they possibly get from this? And yet still, I found it to be a fun if unnecessary exercise, mostly thanks to the art which is a great to the German expressionism foundations of the story.
June 28, 2025
I'll give the book this much credit over the film - the head will probably never shake hands with the hands, so tossing the head off a roof makes some sense.
I just rewatched the movie prior to rereading the book. It's really fun how effectively the major roles of the film lineup with the Superman mythos. Jon-Kent loses a lot of agency in the book compared to Joh Frederson in the film, and of course, the book's ending goes sci-fi/action, losing the reconciliation of the film's finale.
I just rewatched the movie prior to rereading the book. It's really fun how effectively the major roles of the film lineup with the Superman mythos. Jon-Kent loses a lot of agency in the book compared to Joh Frederson in the film, and of course, the book's ending goes sci-fi/action, losing the reconciliation of the film's finale.
June 2, 2019
Parte de una trilogía que envisona.a personajes de DC Cómics con la estética del impresionismo europeo, evocando obras como 'Metropolis' de Fritz Lang, o Nosferatu, es un experimento interesante, mas no esencial, del univerao de DC Comics, con sufientes cambios y mezclas en los personajes, para hacer la lectura de viaje (lo leí durante uno) lo suficientemente entretenida.
July 18, 2019
Sorry but the beautiful art didn't make me close my eyes on the non-existant writing. GOD-FUCKING-AWFUL. If you want something more interesting based on german impressionism I suggest to check out the "Cannon Fodder" segment of the 1995 Anime Memories by the Great Katsuhiro Otomo instead of this steaming piece of shit.
June 23, 2025
Basically an DC comics "Elseworlds" story that is a mash-up of Fritz Lang's 1927 German expressionist science fiction movie masterpiece "metropolis" with Superman! This probably won't work as well if you have never seen the film in question but if one has this is a really neat take on it for sure if you have!
September 28, 2025
Genuinely quite terrible, a mashup so misguided that essentially its just a retelling of Metropolis with Superman character names. And whether give what names doesn't even make sense.
This artist could definitely pull off a comic book adaptation of Metropolis, but not one with Superman shit slapped on it.
This artist could definitely pull off a comic book adaptation of Metropolis, but not one with Superman shit slapped on it.
December 29, 2018
Cute idea that results in a clunky story.
Making Superman's Metropolis the Metropolois of the silent film was clever, but the big chunks of speechifying from the movie don't work as well in a comic book and the two stories don't feel blended so much as jammed together.
Not a huge fan of the artist either, so it all results in a noble effort but an unsatisfying read.
Making Superman's Metropolis the Metropolois of the silent film was clever, but the big chunks of speechifying from the movie don't work as well in a comic book and the two stories don't feel blended so much as jammed together.
Not a huge fan of the artist either, so it all results in a noble effort but an unsatisfying read.
July 15, 2022
I'm a sucker for German expressionist film, and I love the DC hero universe in the nostalgic way a lifelong reader of comics loves the favorite universe of their childhood, so this is virtually designed for me. Ymmv, but the art is definitely impressive.
September 26, 2025
the art style is absolutely gorgeous but aside from a few details and the climax, this is just beat for beat the film metropolis but without any of the fantastical imagery with most of the interesting characters being trimmed down or cut our completely.
August 25, 2018
Maybe 2.5
March 2, 2020
This was super (hehe) cool. I know it’s not everyone’s cup of tea, but I adore the film Metropolis so much and really enjoyed this mashup of Superman and it.
December 29, 2024
A fine elseworlds story with great art deco comic art. I wish it tied more into why superman works but the class consciousness angle is fresh enough.
December 30, 2024
Interesting concept, but the art was really uneven to the point of distraction.
March 3, 2025
Neat stuff :)
August 25, 2015
Wohohohow. Ook in het Elseworlds-idee zoals True Brit, maar een wereld van verschil.
Concept: Duits expressionisme. Deel één is een vertaling van Fritz Lang’s Metropolis: Clarc Kent-son is de (geadopteerde, blijkt later) zoon van de baas van Metropolis, Lois Lane vecht voor de rechten van de onderdrukte werkers, Lutor is de krankzinnige wetenschapper die een robot bouwt naar de beeltenis van Lane. Lane vindt dat Clarc, als Superman, de Messias van de werkers moet worden.
De tekenstijl is expressionistisch en zal niet naar iedereens zin zijn. En ik heb die oude films allemaal staan en allemaal gezien en allemaal graag gezien, het kan zijn dat ik bevooroordeeld was, maar: hugely satisfying, vond ik.
Concept: Duits expressionisme. Deel één is een vertaling van Fritz Lang’s Metropolis: Clarc Kent-son is de (geadopteerde, blijkt later) zoon van de baas van Metropolis, Lois Lane vecht voor de rechten van de onderdrukte werkers, Lutor is de krankzinnige wetenschapper die een robot bouwt naar de beeltenis van Lane. Lane vindt dat Clarc, als Superman, de Messias van de werkers moet worden.
De tekenstijl is expressionistisch en zal niet naar iedereens zin zijn. En ik heb die oude films allemaal staan en allemaal gezien en allemaal graag gezien, het kan zijn dat ik bevooroordeeld was, maar: hugely satisfying, vond ik.
September 11, 2010
It was .50c so I couldnt expect too much but man this was an entertaining use of my half hour break at work. Very fun if you know the mythos of both things there. I liked how the writing fit right at home with the place cards of the movie, the language isnt dumbed down and you are given just what you need in a very poetic style. If you find it in the bargin bins like I did its worth picking up.
April 19, 2016
Man I wanted this to be so good. Metropolis is absolutely one of my favorite films of all time. These two properties should have melded perfectly together but they just....didn't. I don't know. I don't really have a reason for not loving this, it just didn't grab me. Even the art was disappointing, although I really loved the panels with Superman fighting the robot Lois.
Displaying 1 - 30 of 36 reviews