Superman: Whatever Happened to the Man of Tomorrow?

by DC Comics, Curt Swan (Illustrator), George Pérez (Illustrator)

An unforgettable trade paperback collection of WATCHMEN writer Alan Moore's definitive Superman tales that is sure to appeal of readers of his BATMAN: THE KILLING JOKE graphic novel. Moore teams with Curt Swan, the definitive Superman artist from the 1950's through the 1970's, to tell the final adventure of the Man of Steel featuring his last stand against Lex Luthor, Brainiac and his other foes in "WHATEVER HAPPENED TO THE MAN OF TOMORROW?".

Genres: Comics, Graphic Novels, Superman, Dc Comics, Comic Book, Superheroes, Graphic Novels Comics

47 pages, Paperback

First published January 1, 1985

About the author

DC Comics is one of the most influential and enduring comic book publishers in the world, widely recognized for launching the superhero genre and shaping the modern mythology of American pop culture. Founded in 1934 as National Allied Publications by Major Malcolm Wheeler-Nicholson, the company published the first comic book featuring all-original content. That early publication, New Fun Comics, marked the beginning of a new form of entertainment that would quickly gain momentum.
The transformation from a publishing experiment to a cultural powerhouse began in earnest with the creation of Superman by Jerry Siegel and Joe Shuster in 1938. Introduced in Action Comics #1, Superman is widely regarded as the first true superhero and set the standard for the genre. His instant popularity laid the groundwork for DC’s expansion and its rapid rise within the industry. The debut of Batman, created by Bob Kane and Bill Finger, in 1939, and Wonder Woman, created by William Moulton Marston and H. G. Peter, in 1941, added to DC’s growing pantheon of heroic figures.
As superheroes captured the public imagination, DC introduced a wide array of characters, including the Flash, Green Lantern, Aquaman, Martian Manhunter, and Green Arrow. In the 1960s, these characters were brought together as the Justice League of America, reflecting the company’s focus on interconnected storytelling and shared universes—concepts that would become central to comic book publishing.
DC’s influence extended far beyond its own titles. During the Silver Age of Comics, the company reimagined older characters and introduced new ones, revitalizing interest in the medium. The company also played a central role in the development of the Comics Code Authority, which shaped the industry’s self-regulation following public criticism and Senate hearings in the 1950s.
In the 1980s, DC undertook a bold redefinition of its brand and storytelling approach. The publication of The Dark Knight Returns by Frank Miller, Watchmen by Alan Moore and Dave Gibbons, and Swamp Thing marked a creative renaissance. These works pushed the boundaries of what comic books could express, bringing mature themes, literary depth, and psychological complexity into the spotlight. This era confirmed DC as a platform for serious artistic exploration, not just superhero adventure.
DC also took steps to streamline its increasingly complex fictional universe with the crossover event Crisis on Infinite Earths in 1985, an ambitious effort to consolidate decades of continuity. Since then, the company has repeatedly reinvented its universe through major storylines and publishing initiatives, including Zero Hour, Infinite Crisis, Flashpoint, and Convergence. In 2011, DC launched The New 52, a line-wide reboot that modernized characters and storylines. This was followed by DC Rebirth in 2016, which aimed to reintroduce classic elements and emotional resonance.
In addition to its core superhero line, DC has published influential works under its imprints, including Vertigo, which released genre-defining series like Sandman, Preacher, and Y: The Last Man. These titles broadened the scope of comics and attracted new adult readership. More recent imprints such as Black Label and DC Ink continue to offer creator-driven, experimental storytelling for mature and young adult audiences.
DC’s characters have transcended the comic book medium, becoming mainstays of global entertainment. From Christopher Reeve’s Superman films to Tim Burton’s and Christopher Nolan’s Batman adaptations, from animated series like Batman: The Animated Series to the DC Extended Universe, the company’s heroes have been interpreted and reinterpreted across generations. Games like the Arkham series and shows like The Flash, Arrow, and Peacemaker have extended DC’s reach into interactive and serialize

Reviews

[Alejandro · Rating 5 out of 5]

The end of an era!


This TPB collects “Superman” # 423 & “Action Comics” #583.


Creative Team:

Writer: Alan Moore

Ilustrator: Curt Swan

Inkers: George Pérez & Kurt Schaffenberger

Editor: Julius Schwartz


FARENHEIT 1,763

If the nuisances from my past are coming back as killers… …what happens when the killers come back?

It was 1986, and the Silver Age of Comic Books were coming to an end.

It’s an odd feeling to remember that, since I am used to think about the Silver Age as something of the 70s, and always realizing that it ended just 4 years before reaching the 90s… it’s an odd feeling indeed.

Julius Schwartz, the now iconic editor who updated to the Silver Age so many characters like Green Lantern, The Flash, Hawkman and The Atom, is a true synonym of that era, at least in the titles of DC Comics. Therefore, it was just right that Julius Schwartz would come out with the basic idea for this iconic story, that Alan Moore developed the bold narrative, along with the outstanding illustrations of Curt Swan, and the great inks of George Pérez & Kurt Schaffenberger.

It was the last story of Superman… the last story of the Silver Age of Comic Books.

And as any “last” story of an era, ending it… and bringing a new one… since nothing truly ends… just transforms… the tale is a bittersweet merging of both ages. In this case, the story contains a closure of the still campy adventure of the Silver Age, but integrating an overture of the yet dark violence of the Bronze Age to come.

The Silver Age ended yesterday and the Man of Tomorrow cried!


GOOD-BYE, SUPERMAN! WE’LL MISS YOU!

Nobody has the right to kill. – Not you, not Superman… Especially not Superman!

It’s 1997, ten years later of the last sighting of Superman.

Lois Lane got married, now she is Mrs. Jordan Elliot, and she had a child. A young reporter from the Daily Planet interviews her about her recollections of the last days of Superman…

The goofy enemies of Superman like Bizarro, The Prankster and Toyman gone berserk in an unbelievable outbreak of genocides, homicides and even suicides. And the close people to Superman were starting to get killed since his secret identity was exposed in the middle of all that crazy violence. So, the menace was clear, if the “absurd” villains were able of such gruesome acts…

…how far could go his greatest foes?

Lex Luthor, bald mad scientist (still Silver Age, remember?) is assimilated against his will, into an unholy fusion, with Brainiac’s brain, evolving him in the worst of both worlds, with a clear goal…

…to kill Superman and all his loved ones without mercy!

The Legion of Super-Villains made a time trip from the 30th Century, to have front seats in the fall of Superman, since it’s an already historic fact in their time period!

And the worst is still to come!

Superman is forced to take in, his still alive closest friends, and making a desperate last stand in his Fortress of Solitude, but even him won’t be able to save them all, since even his own safety is guaranteed!

But remember…

…the tale is a bittersweet merging of both ages…

…the story contains an overture of the yet dark violence of the Bronze Age to come, but also a closure of the still campy adventure of the Silver Age.

Wink.

[Sophia · Rating 4 out of 5]

Really only read the first two stories this time ‘round.
I had heard about this tale, knew this was a big Superman story. But diving in, I knew less than I thought I did!

I was really glad about that because I was definitely surprised by some of the decisions Moore made for a few of the characters.

I definitely felt like Moore had something against Superman’s Clark Kent identity. But I liked the story telling, interview thing.

I’ll admit even though I hadn’t read very many stories with him in it, Krypto’s death hit me the hardest.

I really enjoyed the art and the simple nature of the panels.

I recommend this story for people who want a different Superman story, one not filled with hope and one-sided battles but one with emotion and loss.

Side note: I thought it was funny that it’s set in the 90’s and yet the Elliot household still looks very 80’s!
(They did include the classic glass dome around the sink and the see-through boxes they used for holding babies at home…)

[Anne · Rating 3 out of 5]

It's hard (for me, anyway) to rate this one properly.

This is the historic Final Farewell to the Silver Age Superman story. It's one of those things you have to read.
No doubt about it, you've just gotta do it.

I just wish I'd read it back in 1986. Don't get me wrong, it was good. Just...meeeeh not mind-blowing.
What can I say? It's 25 years old, and it shows.

5 stars for the Important Moment in Comics factor
1 star for the ugly 80's art (I can't help how I feel!)
3 stars for an ok plot

[Jim Ef · Rating 4 out of 5]

8.1/10
Alan Moore, ποιος καταλληλότερος να δώσει τέλος ( προσωρινό βέβαια ) σε έναν τόσο σημαντικό χαρακτήρα, αλλά και στην λεγόμενη "Ασημένια εποχή" των comic books?

Alan Moore was given the task to write the story that would be the end not only for one the most iconic characters but also the end of an era.
He fulfill this task, and he did so in a beautiful way. You can tell this is written with love for Superman. Yes the man of steel might be no more, but that's ok, everything must end one way or another. So when you finish this book, although you might feel a bit sad, you also know it's ok to move forward and say
So long Superman ( thankfully not for long )

[Donovan · Rating 4 out of 5]

So I read this twice, 5 years apart, and really enjoyed it on my second read. Context is absolutely essential to enjoying this comic. I had no idea this was a farewell to Golden Age and Silver Age Superman, complete with George Perez and Curt Swan illustrating this to look more old fashioned--after all, this is a 1985 comic. Swan illustrated Golden and Silver Age Superman starting way back in 1948, Perez illustrated Bronze Age Superman as well as the legendary Crisis on Infinite Earths. The lead story is definitely the best, with all of Supes' rogues attacking him en masse. The other stories are campy, dark, and sci-fi, and still plenty entertaining. Is it the best Supes book ever? No but it's still a great read.

[Britton · Rating 5 out of 5]

Every time I read one of Alan Moore's Superman stories, I get sad. Not in the sense that his Superman stories are particularly tearjerky, despite the great emotional moments in both of Moore's stories, particularly in For The Man Who Has Everything. But for the same reason I get sad after I finish Moore's much celebrated reimagining of Swamp Thing. I'm sad about Moore's loss. I'm sad about the possibilities that could have been, had he not left DC. I think about what we could have had, had DC treated Alan better.

That's not to say that Moore never touched the Man of Steel again after he left DC. He wrote about him throughout his career. From Miracleman, Top 10, even Supreme, Moore has betrayed an unerring fascination with Superman and what he means. A lot of people think of Moore as a moody deconstructionist, a guy who likes to take children's entertainment and turn them into grizzled, depressed sourpusses, but if you actually read his work you'll find that's not at all who he is. Not even close. Moore can do sincerity, and if it wasn't apparent in Miracleman, Swamp Thing, or even Watchmen, then it's unambiguously clear in his work on Superman.

His Superman stories may be brief, but Moore's staggering vision remains potent. He takes leaps that few other creators would dare dream to. Much like his other grand works in the 80s, his touch on the character of Superman has impacted how so many have written him since then. But we also see Moore in rare form here, a Moore who had to work under constraints of such an iconic character and he doesn't miss a beat here. Both stories he did with The Man of Tomorrow are exceptional pieces of sequential storytelling

So what lies in the heart of The Man of Steel? That is what Moore dissects in For The Man Who Has Everything. I can't say this story shows Moore at his cleverest, deepest, or most insightful, but along with The Anatomy Lesson and Pog, it might be one of the best single stories that Moore has ever told. There's little fluff here and Moore doesn't have time to waste. Many writers would be too intimidated to write an icon such as Superman, yet Moore writes him as if he were a seasoned veteran, coming in to show the boys how it's done. It's also one of the most emotionally poignant of Moore's work too, with some of his strongest emotional beats being in this story, with Superman seeing his dream son for the last time being the real tearjerker of the story. It's one that should be read to fully appreciate.

As I noted before, Superman isn't as hard to write as people think. He's not too different from us regular folk, it's just his unique abilities make it to where his average problems are often exaggerated into cosmic, science fantasy levels. Moore brilliant illuminates that within the heart of The Man of Steel is a man who lost everything. For a man who supposedly has everything, Superman is a character defined by loss. It doesn't drive him as much as his friend Batman, but it's still there and from that, we get a deeply tragic story about the life Superman could have had, but can't.

Joining him once more is his Watchmen collaborator Dave Gibbons and once again, I am saddened that they didn't work together more. Moore never seemed to have a Phillips, Mazzucchelli, or Quitely*, an artist who complimented him perfectly in his technique and style. But if there was any person who came close to that honor, I would say it's Gibbons. Moore could throw 15 of his craziest ideas at Gibbons and he'd be right there, ready to take the challenge. His storytelling and expressive designs are second to none here and he compliments Moore's technique here brilliantly. Though, like with Steve Dillon, I do notice some similarities between the character designs here and the designs of Watchmen, as Superman looks like Daniel and it was sometimes distracting. But nonetheless, Gibbons was on fire here.

It's almost eerie reading For The Man Who Has Everything, as this story explores what could have been and why it can never be. It's almost like Moore was giving himself a subliminal warning of what DC was going to do and how thoroughly the comic book industry will crush his dreams. Of course, this is a stretch and speculation for that matter, but this story becomes much more bitter in hindsight. As Superman's dreams are crushed in this story, so was Moore's in our world.

With Whatever Happened To The Man of Tomorrow, we see Moore's depiction of a possible ending for Superman. There have been several of those throughout the years, rather it be Grant Morrison's All-Star Superman or the iconic, if not ridiculously convoluted Death of Superman. Moore put his hat into the ring with this concept and he knocked it out of the park. This story could have easily been convoluted in lesser hands, but Moore does it with gusto and finesse. I even remembered during a re-read that I had read parts of this story when I was a kid and I had mistook it for The Death of Superman for whatever reason. So it was a nice experience seeing it again when I was older.

Let it not be said that Moore doesn't have a good eye for the trends that comics would later follow, as Whatever Happened has the same lamentation of a bygone era that you would find in Marvels orKingdom Come. Unfortunately, once the genie that Miracleman and Watchmen was unleashed upon the world, it could never be put back into the bottle. The Silver Age is leaving us, so Moore gives it the eulogy it deserves and who is more Silver Age than the Man of Steel. Moore got to this type of story before anyone else did and one could argue he set the template with what he did here.

Moore certainly brings his playful, deconstructive flair to this tale of Superman, but he doesn't stoop into making Superman into a miserable, conflicted shell of himself, because that's not who Superman is. This may be a sad story, but there's still that wry, Silver Age Superman style that flows through here. Despite this being the end of Superman, it still remains a deeply felt love letter to Superman and what he means as a character. The ending of this story in particular is the most Superman ending that you could possibly get and it doesn't feel out of character. The love and passion that Moore brings here burns with intensity and still does today after all these years.

It must have been a dream for Moore to work with the Superman artist of the Silver Age Curt Swan in Whatever Happened. Swan might have been 66 when this was published, but the man hadn't lost his touch. Not at all. His colorful, vibrant style still rings true all these years later and like the best writers, Moore works to his artists' strengths and Swan showcases the apex of his ability here. His style was a dying breed, so why not go out in style while he was at it.

Morrison might have taken 12 issues to write All-Star, but Alan only needed one to tell his tale on how Superman ends. I once again feel the ache of the lost potential, only imagining what else Moore could have done with Superman or any of the other characters who populated the DC universe. Indeed, we could have missed out on From Hell, The League of Extraordinary Gentlemen, or any of the other strictly creator owned work that Moore would do, but given his infamously steadfast championing of creators' rights, I don't doubt we would have gotten stories like them. But I still mourn, because I think Moore could have done so much more with DC and even Marvel if they had let him.

Even with how brief they are, For The Man Who Has Everything and Whatever Happened To The Man of Tomorrow are still some of the best stories of the Superman canon. If it speaks to their quality, even Moore, notoriously opposed to adaptations of his work, liked Justice League: Unlimited's adaptation of For The Man Who Has Everything. Make of it what you will.

*Man, could you imagine if Moore and Quitely worked together...a man can dream.

[Ray · Rating 5 out of 5]

Still a beautiful ending to the pre-Crisis Silver Age Superman, and wonderful that Alan Moore could do a superhero deconstruction without any cynicism. That sure was a long time ago

[Ronyell · Rating 5 out of 5]

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Introduction:

There were many comics during the 1980s that really helped redefine the comic book industry, such as Frank Miller’s classic “Batman” story, “Batman: The Dark Knight Returns,” which helped redefine Batman into a darker and edgier character. Another comic that really stood out for DC comics during the 1980s was none other than “Superman: Whatever Happened to the Man of Tomorrow?” which was actually the final “Superman” story to be written in the style of the silver age comics. After I read Alan Moore’s classic “Batman” story, “Batman: The Killing Joke,” I just had to check out Alan Moore’s other works with the DC Universe and after many of my friends recommended me this comic, I decided to check out “Superman: Whatever Happened to the Man of Tomorrow?” This is honestly the first “Superman” comic book I had ever read, even though I knew Superman from watching “Superman: The Animated Series” and “Smallville.”

What is this story about?

This is basically a what-if story about the events that led Superman to suddenly disappear from the face of the Earth. This story includes many of Superman’s greatest foes (Bizarro, Lex Luthor, Metallos and Kryptonite Man) trying to kill Superman. Will they succeed? Read this comic to find out!

What I loved about this story:

Alan Moore’s writing: Alan Moore, as usual, has written a truly inspiring story about the man of tomorrow as it was truly intense yet exciting at the same time. I loved the way that Alan Moore wrote this story in a what if scenario, even going as far as to say that this story is IMAGINARY, since I love reading “what-if” stories about what would have happened to our favorite comic book characters if certain situations that do not normally happen in the mainstream universe happened to that character. I found this story to be really interesting because of how various events are set up to lead to the mystery of Superman’s disappearance such as Bizarro attacking Metropolis for sadistic reasons. I also loved the fact that even though this story was extremely short, Alan Moore still managed to detail every event that was involved in Superman’s disappearance and I loved seeing the characters’ reactions towards certain situations, especially Superman himself. I really loved the portrayals of all the characters, including Lois Lane and Superman as Lois Lane is written as being extremely helpful towards Superman and caring about him when the situations got complicated for Superman. I really loved Superman’s personality as he is always shown as the man who would try to do the right thing and would try to help out his friends and the planet whenever they are attacked by his enemies.

Curt Swan’s artwork: Curt Swan’s artwork was fantastic as it really captured the feel of the Silver Age “Superman” comics with the characters looking extremely realistic and colorful. I also loved the way that Curt Swan drew the action scenes as they look intense and dramatic whenever Superman was fighting his foes.



What made me feel uncomfortable about this story:

I guess the only worrisome thing about this comic is that it is a bit darker than your average “Superman” story. I will not go into much detail, but let us just say that many characters die in this comic and that might be upsetting for any “Superman” fan.

Final Thoughts:

Overall, “Superman” Whatever Happened to the Man of Tomorrow” is a truly brilliant “Superman” story that fans of “Superman” will definitely enjoy for many years! This volume also contains two extra stories after the original story which are “The Jungle Line” with artwork by Rick Veitch and it is where Superman meets up with Swamp Thing and “For the Man Who Has Everything” with artwork by Dave Gibbons and it is about Superman being controlled by one of Mongul’s inventions…on his birthday! I would definitely check those two stories out also!

Review is also on: Rabbit Ears Book Blog

[Little Timmy · Rating 4 out of 5]

Very nice what if story of the last adventure of Superman and his cast of characters. Very well written with great art. Very recommended

[Machiavelli · Rating 5 out of 5]

Superman: Whatever Happened to the Man of Tomorrow? by Alan Moore is a powerful, poignant farewell to the Silver Age Superman. It reads like a mythic eulogy—packed with heart, sacrifice, and a deep reverence for the character’s legacy. Moore balances emotion and action beautifully, giving us a Superman who faces his final days with dignity and grace. It’s haunting, heartfelt, and surprisingly hopeful. A must-read for any Superman fan—this is how you honor a legend.

[Sud666 · Rating 3 out of 5]

A classic Alan Moore take on Superman.

It is a great time for Superman. His past villains have been defeated and he is at peace. But they aren't gone as he thought. The villains stage one final "push" that comes from a variety of sources. Superman is "outed" as Clark Kent and is forced to take all his close friends to the Fortress of Solitude for protection. As various friends and hangers-on reminisce about their time with Superman (mind you the entire story is told as an interview with Lois Lane) as random Superman villains mass outside the Fortress.

There is a dark undertone to this story as a lot of people die. No spoilers though. Suffice it to say they are fairly major characters. It is a sort of "farewell tour" for Superman. Moore's story has an odd mix of kitsch and darkness. Somehow it works. While this is not an amazing story, it was fairly original for its time. Unlike today where superheroes die every other issue and then return. It was a shocking concept at the time. The ending is also not bad at all.

I give Moore due credit for this comic being ahead of its time with the deaths. What is now nothing more than an excuse to start another spin-off or a new "reveal" was not common back in the '80s. The artwork is good (considering the time) and Moore's story never descends into the banal stories of most 80's comics. One worth reading if you like to read "classic" comic books.

[Fugo Feedback · Rating 5 out of 5]

Envidio la época de mi infancia y temprana adolescencia, donde podía leer un comic sin fijarme siquiera en el autor y disfrutaba plenamente de la historia sin preocuparme por quién trataba mejor a los personajes, qué línea editorial era mejor, si la revisionista o la pro-continuidad y otras nerdeadas por las que nos hacemos mala sangre los típicos friquis como yo. Cuando salió este tomo me lo prestó un compañero del colegio (que me cargaba por leer Superman, pero bueh...) y quedé fascinado. La historia me pareció jodida y atrapante como pocas, lo mejor que hubiera leído de Superman hasta el momento, y -repito- eso que no sabía quién era Moore y jamás había leído Watchmen (sí la Cosa del Pantano, pero aunque me había cagado de miedo de chiquito, no llegué a regristrarlo). Muchos años después lo conseguí barato, lo compré y releí y no me decepcionó en lo más mínimo. Claro que ahí dije "Obvio, si es de Moore", y chau objetividad. Pero todos los méritos de la obra siguen ahí. Creo que -junto al All Star Superman de Morrison y Quitely- es una de las mejores interpretaciones del personaje que se haya hecho jamás, como seguramente corroboraré la próxima vez que lo lea y escriba una reseña más elaborada (y van...)

[Drew Canole · Rating 2 out of 5]

Eeeek! This passes as a classic super-hero story? It's an alright story, but it certainly isn't a classic. It's a throw-away "what if?" story.

Superman's last days are recalled by Lois Lane ten years after Superman's death. The recently married Lois Elliot gets interviewed by a guy from the Daily Planet in order to write a piece for a Superman Memorial edition of the paper.

I didn't recognize any of Superman's foes, not being a well-read Superman fan, except for Lex Luther.

The panel with the other superheros banging on the force field is hilarious. Batman and Robin both have sticks and Wonder Woman is pounding at it with her fists...

"With Twilight, other heroes began arriving outside the barrier. Those that were his friends... those that were almost his rivals... those that might have been his lovers. It didn't matter. None of them could penetrate it."

I think this 60 page story shows why nowadays writers take multiple issues to tell similar stories. (such as Bendis writing the 200 page Daredevil End of Days)

- argh... this story would have been swept under the carpet if it weren't for Moore's fame.(less)

[Matthew Ward · Rating 5 out of 5]

Fantastic read. Alan Moore is a seriously talented writer and his take on Superman in these issues have me really wishing he had his own extended run on the character. “Whatever Happened To The Man Of Tomorrow” was a beautiful story of Superman’s last days. Though the story was a tad bit predictable, specifically in the ending, the execution of the story didn’t take away from that. The Swamp Thing issue was pleasant to read, as I remember really enjoying Moore’s run on that character also. And lastly, the Superman annual was one that I wasn’t so sure that I would like, but when I got to reading it, I was pleasantly surprised to find that I actually enjoyed it quite a lot (especially with the inclusion of Dave Gibbons’ art)!

[Dave Schaafsma · Rating 2 out of 5]

Just re-read (for my GN class) the amazing Watchmen again (which has so much to admire about it, the more you look at it, even if I don't love it), and a project I really do love that I am re-reading, From Hell (just, wow), to read this is just so disappointing on almost every level. Not groundbreaking, with almost no really amazing touches in my opinion. Doesn't make sense to me in places.

[Chelsea 🏳️‍🌈 · Rating 4 out of 5]

This is a great story. It's quite short but I thoroughly enjoyed it.

It's told through Lois Lane - sorry, Lois Elliott, giving an interview about the last days of Superman. I haven't read a lot of Alan Moore and by that I mean I've only read The Killing Joke. Still, I really liked this. The story feels like an old DC comic but it wasn't so old times that I found it cheesy or hard to relate to. I haven't read a lot of Superman but I like Clark Kent here. He's a sympathetic characters and even his small plight of the Lois/Lana triangle didn't annoy me.

It seems like the entire cast of Superman shows up for his "farewell". The villains: Bizarro, Mentallo, Lex Luthor, Braniac, and Mxyzpltk. The members of the Justice League come to help as Superman has gathered all of his Daily Planet friends. It feels final, even knowing this wasn't the end of Superman.

Definitely a recommend from me.

[Danger · Rating 4 out of 5]

Three separate Superman stories, taking place over four separate issues of the comic that tackle mortality, existentialism, and regret through the lens of this seemingly “uber-man.” While impeccably written, the stories sometimes feel a little dated (they came out in the mid-80s, it’s inevitable). Of course, considering the current DC film version of Superman, who has all the emotional depth of a moody teenager, the characterizations here feel weighted, like they actually MEAN something.

[Peter Looles · Rating 2 out of 5]

I was really disappointed by that comic. It's one of the most iconic Superman comics, it's the end of an era and it's written by Allan Moore. It should have been at least some good. But it's really boring. The fight scenes are boring, the dialogues are stupid and all the characters in this comic are ridiculously stupid. I mean... the was a panel where the superhero - friends of Superman where trying to destroy the force field that brainiac made to trap Superman, his friends and his enemies, to eventually kill him. In this panel Batman and Robin were hitting the force field with a stick. A FUCKING STICK. He's goddamn Batman, I am sure he could find a better way to break a force field. Also the artwork was awful. The only reason I am giving it 2 stars instead of 1 is because the ending is actually really good and I liked it.

[Carmine · Rating 3 out of 5]

This is the last superman story. After this came out DC decided to start publishing some weird "marvel" version of a character that looked like Superman. (a strange choice but they seem to be sticking with it)

This book gets alot of praise (because it was writen by comicbook megastar Alan Moore) but really is this anyways to kill off the classic Superman??? Alan Moore kills off Jimmy Olsen and Lana Lang!!!
Lex doesn't do anything worthwhile and is killed by 80s disco Brainiac.
wacky Mr.myx is turned into a sociopath.
krypto dies (that was a cool death scene by krypto though)

Superman gives up his powers because he's forced to kill and then grows a moustache!?!?!

Really nice Alan. Real nice.

[Marie Antoinette · Rating 4 out of 5]

"This is an imaginary story (which may never happen, but then again may) about a perfect man who came from the sky and did only good."

I've never been a fan of Superman, maybe it's because I'm a Batman's fan, maybe it's because I find him too pretentious or too martyr but I don't like him. So I gave this comic a chance, because I'm a massive Alan Moore fan, and now I understand why some people likes Superman, I still don't like him but i understand.

"Away in the big city, people still sometimes glance up hopefully from the sidewalks, glimpsing a distant speck in the sky... but no: it's only a bird, only a plane — Superman died ten years ago. This is an imaginary story... aren't they all?"

[Jim Smith · Rating 4 out of 5]

To wrap up the entire Superman mythology in two issues with no build-up and somehow juggle every kitchen sink element in a satisfactory manner with great pathos is an awesome accomplishment. Moore's The Killing Joke was dumb trying to look clever. "Whatever Happened to the Man of Tomorrow?", much like its central character, is clever trying to look dumb. Supes' world slipping into entropy and away from the Man of Steel... this being shown in a positive and affirming manner appropriate to the humanist perspective of the character...

Beautiful.

[Eric Burton · Rating 5 out of 5]

Decided to read this again, after talking about it with a friend. Yep, it's still incredible in every way. Moore is able to take Superman in directions I've never seen any other writer do. We see Superman at his most vulnerable, and it results in one of the most emotional panels I've read in a comic.

The additional two issues included are also fantastic, especially 'For the Man Who has Everything'. Which has struck a chord with audiences in many different adaptations, including the Justice League animated series.

[Hossain · Rating 3 out of 5]

Perhaps this is not the first book to read about superman, kind of ironic now that I think about it. However it is kind of refreshing to see that all the page is coloured after reading all these mostly black and white manga.

[Eddie B. · Rating 3 out of 5]

Alan Moore could have done MUCH better.

[OmniBen · Rating 3 out of 5]

(Zero spoiler review) 2.75/5
First off, I don't think this was really written for me, and not because I was three at the time this came out. I mean my more critical take on this will no doubt diverge from the general consensus of this story, seeing as how I've never had any real interest in Superman, nor am I a fan of silver age super-heroes. So a review from someone grossly unfamiliar with the lore of a character, whose very premise requires a knowledge and nostalgic leaning towards this bygone era might not be so helpful for some, but maybe very helpful for others.
As a respectful, reasonably well told tale, offering a somewhat formulaic (never a word I associate with Alan Moore) end to the Man of Tomorrow, then I guess it's fine. As a piece of entertainment in and of itself, it kind of misses the mark for me. The art is fantastic for what it is, and though this is likely the least enjoyment I've ever received from an Alan Moore work, I still couldn't help but feel slightly underwhelmed by it all. I was expecting a Moore masterpiece in subversion. Something brilliantly odd and amazingly original. Instead, it was pretty standard fare. Maybe he subverted my expectations by not subverting them.
It's sad for me to say, but Neil Gaiman's similar tale for Batman is the much better story, and not just because Batman is a character I'm infinitely more familiar with, and one I enjoy so much more. But hey, it's only two issues long, so it's hardly a major investment of time or money to decide for yourself. I certainly wouldn't start your Superman journey with it like I did though. 2.75/5


OmniBen.

[Cybernex007 · Rating 5 out of 5]

Spanning over Superman #433 and Action Comics #583, Alan Moore helms the last days of the silver age man of steel in an absolutely phenomenal story that had me tearing up. This entire story is retold from Lois in the future as she talks about the final days of Superman, as she is now older and has a family.

We see the man of steel in a world where things are changing. Villains are coming back but are deadlier than ever before and are brining chaos and death in their wake. Bizzaro comes back to earth after destroying his world and goes on a murder spree that ends in suicide in an attempt to be the opposite of Superman. Toyman and prankster utilize people closest to Superman to find and expose his secret identity. I can’t help but think that because these villains aren’t entirely sure why they doing this, that it acts as more of a representation of where comics are going. From the bright colored hijinks of the silver age, to a darker modern age. So who better to helm a storyline about that coming to an end than Alan Moore?

We also see where 2 of Superman’s greatest foes mesh into a dangerous combo as brainiac takes over Lex Luthor’s body and uses him as a processing unit. All of those dangerous events lead Superman to take his closest friends up to the fortress of solitude as its currently the safest place. But it also puts them all in one secluded place, ready for a last stand. As brainiac gathers the bone headed Kryptonite man as an easy weapon to take down Superman.

While in the fortress waiting in the pressure for the eventual battle, the legion is superheroes pay a visit from the future, with none other than a young supergirl. Standing right around the corner from the memorial Clark has to her from her death during crisis. In a way this is such a heartfelt moment where he gets to see her again, but he also knows this is a sign of being close to the end, especially as brainiac 5 presents him with a statue from the legion.

At this point the siege has now started. Brainiac with Lex’s body is outside the fortress with a more powerful Kryptonite man ready to take on Superman. But then they also get a visit from the future, in the form of the legion of super villains. Who have come to aid in the inevitable death of Superman. They even give brainiac a tip to encase the battle grounds either a shield to keep out the other heroes who will rush to Superman’s aid.

The battle continues to stay at a standstill as Superman and Krypto takes out their weapons with heat vision but can’t get close because of the Kryptonite man, and the villains can’t get into the fortress. But Lana and Jimmy decide to do something about it. Going into Superman’s vault and finding things to make them temporary heroes again. Jimmy with elastic lad serum and Lana with irradiated water giving her a slew of powers. As they decide to take on the villains unaffected by the Kryptonite man, they are able to take out the generator keeping the shield up, and kill the body of Lex Luthor after he begged them to, after only slightly breaking from brainiac’s control. After doing so, the legion of supervillains mercilessly strip Lana of her abilities and electrocute her to death and then Jimmy is blasted from behind from brainiac controlling lex’s dead body. What an absolutely gruesome scene.

The final assault takes place as the villains blast a hole in the side of the fortress. Krypto valiantly gives himself up as he takes on and kills Kryptonite man before he can take a few steps into the fortress, before succumbing to the effects of the Kryptonite himself. Legitimately one of the saddest deaths. The legion of villains flee back to the 30th century after realizing there are stakes and Superman may kill them, and lex’s body finally gives out on him, and left without a living body brainiac slowly shuts down in the cold.

But as it has been said multiple times and the entire atmosphere of the last few days has been leading to a final stand with Superman’s greatest foe, what happened? After a bit of pondering Superman realizes who is missing and calls for MXYPTLK to show himself. The 5th dimensional imp obliges but looks different. Yet another symbol of the changing times, mxyptlk has grown bored of being the happy villain that causes mischief and has decided to dedicate his time to death instead. He is immortal he has to find ways to keep himself entertained, and has been leading the charge of death in villains behind the scenes the entire time.

But how do you defeat an immortal 5th dimensional imp. As Lois points out the gift that the legion gave Superman, all the pieces fit into place. As the golden statue of Superman is holding the phantom zone projector. Rushing to use the device, Superman points and uses it on Mxyptlk, who inadvertently freaks out and tries to change form right as it hits him, causing him to be instantly disintegrated. Superman has now killed, the oath has been broken. No one has the right to kill, especially Superman, and now it is time for him to go for good. Superman walks into a chamber of gold Kryptonite (which will strip away his powers) and then according to legend, he walked into the Arctic without any abilities and sucommed to the elements. The heroes came in to see the gruesome scene, as Batman described it:

“Like walking amongst the fragments of a legend.”

One legend may be gone but he will always be remember, and yet there may be another legend to unfold, a secret one. The legend of Lois and Jordon Elliot and their Baby Johnathan. A normal family, with normal jobs, and a normal life. And maybe they have the ability to crush coal into diamonds…and strive for truth, Justice, and a better tomorrow…


Overall this was such a beautiful short story that I tear up just thinking about, and I’m not sure if anyone else could of done it better. There is so much history from this era of Superman and to its so special to give him the sendoff we know he always wanted, I normal life.

[Mateen Mahboubi · Rating 4 out of 5]

Around the time of the imminent reboot of the DC universe following the Crisis on Infinite Earths, Alan Moore, near the peak of his creative output, was given the opportunity to send off the Silver Age Superman with a bang. I definitely didn't come to this with a lot of the history of what came before (or what came after tbh) since Marvel/DC comics don't interest me as much but as a somewhat self-contained story, this one does push things in an interesting way. Heroes die, villains die. Why not though, nothing matters so why not go for it. Still seems a bit dated since a lot has changed in superhero comics since but it's still easy to think back about how exciting this would have been at the time.

The volume I read also included two other Superman one-offs also written by Moore. The Jungle Line is a Swamp Thing crossover that is more Swamp Thing than Superman in tone and feel but is a decent story with a dying Superman looking for a quiet place to die and running into ST. For the Man Who Has Everything again has Superman on the brink of death with Mongol using Black Mercy to cause trouble and some friends coming along to save the day. Neither story is particularly memorable but are still interesting reads.

[Matt · Rating 4 out of 5]

I adore Alan Moore’s writing because he has proven to be the most creative voice in comics time and time again. Whatever Happened to the Man of Tomorrow is the end of the silver age Superman. This is a story that sees a Superman during a simpler era, before writers like Alan Moore shook up the medium and added darker elements. This story is great because Moore balances old school aesthetics with more new age attitude. Whatever Happened to the Man of Tomorrow is a somber and angry story about the end of Superman and I highly recommend it.

[Kieran McAndrew · Rating 5 out of 5]

Superman: Whatever Happened to the Man of Tomorrow?

Lois Lane recounts the events that led up to the unmasking of Clark Kent and the ultimate end of Superman.

Moore's seminal story highlights the true vulnerability of Superman is actually himself. Clark Kent and his friendships are the only true way of attacking the Man of Steel. The artwork is bright, brash and heroic, but the panellists g and plotting show the nostalgia for what was seen as the end of an era.

[Kyle · Rating 5 out of 5]

The premise is that Superman has been dead for ten years and a reporter decides to interview Lois Lane for the anniversary of his death, and to gain more insight into what went down ten years ago. Not coincidentally, the best Superman stories seem to revolve around Superman dying (see All Star Superman, Death of Superman etc). Due to the fact that he's basically overpowered, it's kind of difficult to tell interesting stories about him vs anybody, which is why "Whatever Happened..." really stands out. Alan Moore basically throws almost the entire main villain gallery into this story and still, they come across as just minor plot points. The main star of this tale is Clark's humanity and how he deals with the fact that this is it—he knows he's going to die.

The other stories included in this collection are also great reads as well. Superman and Swamp Thing could honestly fit pretty comfortably anywhere within Moore's legendary Swamp Thing run. And "For The Man Who Has Everything" gives even more insight into Clark/Kal-El's deepest desires, and fears.