Whatever happened to The Man of Tomorrow? In the late ’70s, when Richard Donner and Mario Puzo were making their Superman movie, they realized that the lead character, when in costume, lacked a personality. He’s tough, he’s fast, he can fly, and those abilities define him. It may be impressive as spectacle, but it’s a hard lead for an audience to connect with, and so they chose to focus on Clark Kent — in short and in a bad pun, theirs was a classic because it was more Man than Super. Now, with Man of Steel, Snyder, and his writers David S. Goyer and Christopher Nolan, do precisely the opposite.

The film opens with the usual prologue, though seeming far more extended here, on Krypton. Jor-El (Russell Crowe) is arguing with the planet’s elders about mining the core of their world — he warns them that the planet has only weeks left before it implodes, and as soon as he’s dismissed, General Zod (Michael Shannon) appears and starts blowing the elder’s palace up. Jor-El escapes to his wife Lara (Ayelet Zurer), who has just given birth to their son, Kal-El, Knowing the planet is doomed, they place him in a shuttle and shoot him off to earth, but not before Jor implants a whatsit codex into the ship.

Zod attempts to intercept the shuttle, killing Jor-El in the process, but is overpowered, tried, and sentenced to the Phantom Zone, a kind of black-hole prison. Krypton implodes, and Kal makes his way to earth, specifically to the Kansas farm of Jonathan and Martha Kent (Kevin Costner and Diane Lane), who adopt the boy and impart to him the lessons of compassion and anonymity. I will say that it’s clever of Goyer and Nolan to handle Kal-El’s childhood in flashback, lest we sit through another hour or so of an origin story whose end we already know.

Superman’s origin story is one of the most well-known stories in pop culture. Almost everyone on the street knows the basic details of his beginning. Dying planet, desperate scientists, loving farm couple, leads one to become Superman. The story has been re-told so many times, that many people prefer just to skip it.

Action Comics #5 is the DC New 52 version of his origin story, and it has all the familiar elements. Jor-El, Martha and Jonathan Kent, and even the Legion of Superheroes all make an appearance.

The exception of this re-telling is that it was written by Grant Morrison and complimented with dynamic art by Andy Kubert. This re-telling is anything, but stale. Action Comics #5 turns everything old new again by making Superman’s origin exciting, epic, and engaging.

When re-telling an old story, one can add a new element to it by simply switching the perspective of who tells the story, which is exactly what Morrison does. We get to see the origin through the eyes of a character that has never been voiced before in any version of the Superman mythos. We get to see the Superman origin through the perspective of his ship, the one that flew him to Earth.

In Morrison’s origin, Superman’s ship has A.I., and it generally cares for the young Kal-El. Its dialogue comes off as alien and machine like, but through the small paragraphs of prose, the ship expresses its duty to carry out its mission. It’s this fresh element that truly makes Krypton for the first time ever truly alien, and not just an Earth-like copy.

“I work hard at my job, Inspector. I won’t stop trying to expose the corruption of Metropolis. If that makes me an outside or a freak, I’m fine with that.”  – Clark Kent, Action Comics #3

It’s month three of the New 52 Superman. No longer is he an ultra-powerful god that worries about being lonely. Now, he is a social crusader that can leap tall buildings and wears jeans. Did writer Grant Morrison continue the forward momentum and the fresh take on the character that made the first issue so successful? The short answer is yes, and the longer answer is that he did it in a way that I did not expect.

The issue begins with a flashback to the destruction of Krypton, beautifully illustrated by guest artist Gene Ha. Ha handles all the art on the Krypton sequences while series artist Rags Morales continues art on the rest of the issue. While the re-designs of Superman’s doomed planet are great, I was really bored with this sequence. Don’t get me wrong, I was excited by the new inclusion of Brainiac into the destruction of Krypton. (Something that was done first by Bruce Timm’s Superman: The Animated Series over ten years ago).

Parts of these pages have been seen over and over again by anyone that has ever read a Superman comic. Grant Morrison, himself, skipped over Krypton’s destruction by only letting it have two panels in his Superman epic All-Star Superman. In that book, he simply wrote, “Desperate scientists, doomed planet,” and that was all we needed to know. Thankfully, the book doesn’t dwell on Krypton for too long, and focuses on what makes this book excellent.

Superman makes only one tiny appearance in this book. Then who is the star, you might ask. Let me tell you. It’s Clark Kent, and Clark Kent is awesome in this book. No longer the meek, clumsy, nerd he was in the Christopher Reeve movies. This Clark Kent writes articles about corruption in every aspect of society: the police, businesses, and politicians.

He angers people with his articles, and gets beat up for it regularly. The police even search his apartment to get him to stop writing! This is a Clark Kent that matters. His articles and words fight for justice just as hard as Superman does.

If one year ago you told me that DC Comics would take Superman back to his roots in the 1930’s and it would turn out to be the most modern and relevant take on the character, I would have called you crazy. But that is exactly what Grant Morrison has done to the character of Superman, and this comic is refreshing, exciting, and meaningful.

Action Comics #2 begins shortly after the end of last issue. The government has captured the being known as Superman, and under a task force led by Lex Luthor, they are experimenting and testing his powers. This is a Superman that can bleed; he is not the all-powerful god that he will become later. Superman breaks free, holds Luthor in a choke hold, and gets to meet Lois Lane for the first time.

Each and every beat of this book has a joy and energy that a Superman story hasn’t had in a long time. The issue ends with the readers discovering the true being that Luthor is working for. (Hint: It’s a classic Superman villain that has teamed with Luthor before.)

Part of the reason that this book works is the pure essence of motion instilled into every panel by Rags Morales. Last issue, his art came off as rushed. Well, Mr. Morales must have had a chance to catch up, because the art on this issue is fantastic. His Superman is always moving, has a smile on his face, and shows power in every shot.

The first week of DC Comics New 52 has past. Following the release of Justice League #1, last Wednesday DC released its first week of full comic releases of the new relaunch. Excitement has never been higher for DC Comics, and one single question has been asked by comic fans, new and old, everywhere.

Are the books any good?

That’s what the DC Comics ‘New 52’ report card is here to answer! Each and every week, I will read and review each and every book of the ‘New 52.’ Letting you, the reader, know exactly which ones to buy, which ones you should avoid, and which ones you should give to your friend that has never read comics before.

So let’s get started. This week’s books are Action Comics, Animal Man, Batgirl, Batwing, Detective Comics, Green Arrow. All books will be graded on a scale of A to F. Check in tomorrow morning for our second half of last week’s comics. Withoutt further adieu, let’s get started with our first book: Action Comics #1.