Skip to main content

Review: "Superman: Birthright"

Nathan Kiehn is a blogger at Keenlinks, a contributor at Geeks Under Grace, and the author of "The Gray Guard" ebook trilogy on Amazon.


Doing Superman's Birth Right

On his blog, writer Mark Waid has detailed the story of watching Man of Steel for the first time. He describes that, at the moment Superman chooses to kill Zod, a “crazy guy” stood up in the theater, shouted at the screen, and nearly left until his more mindful girlfriend calmed him down.

Waid then admits the “crazy guy” was him.

Mark Waid loves Superman, and his reaction towards Man of Steel was driven by betrayal, as if Zack Snyder's film had stomped all over Waid's ideal version of the hero. Waid has written at least two iconic depictions of Superman–Kingdom Come, a 1996 limited series illustrated by Alex Ross, and Superman: Birthright, the 2003/04 retelling of Kal-El’s origin. The former tells of a possible future Superman who, after being persuaded to put on the cape he previously hung up, asserts a dominant authority over a new generation of young, reckless superhumans. The latter details Superman’s origin, a retelling of the Man of Steel’s early days 17 years after John Byrne’s update.

How does Waid’s take differ from Byrne’s? What does he add to the Superman mythos in this new iteration of a timeless tale? And does Birthright, which was an inspiration for Man of Steel, reveal why Waid reacted as viscerally as he did towards the movie?

"Superman: Birthright" Credits


Mark Waid


Leinil Francis Yu


Superman: Birthright #1-12

Publication Dates

September 2003-2004

The "S" stands for "Stay out of his way!"

The "S" stands for "Stay out of his way!"

Kent and Kryptonian, Kombined

As I commented on before, John Byrne’s ending to Man of Steel irks me. His version of Superman blatantly discards his Kryptonian heritage for his Earth-bound, American upbringing. As I mentioned in my “For the Man Who Has Everything” review, Superman works better when writers view him at the intersection of “Last Son of Krypton” and “First Son of the Kents.” The alien and American heritages intertwined.

Mark Waid understands this perfectly, allowing this connection between Clark’s former and current homes to influence who he is as a person and hero. From almost the start of the series, after a brief retelling of Clark’s rocket-sent origins, Waid juggles this dichotomy beautifully. Clark voraciously devours whatever knowledge he has regarding Krypton, adapting its culture to his life however he can while remaining true to the principles his human parents instilled in him. This is, as the title implies, Clark’s “birthright.” He’s an ambassador of a dead people, striving to fit in with this living world as a human bridge between two extraordinarily different races.

Clark's daily exercise regimen includes a 200 mile run, 500 push-ups, and 100 Kryptonian infant spaceship lifts

Clark's daily exercise regimen includes a 200 mile run, 500 push-ups, and 100 Kryptonian infant spaceship lifts

Superman’s “S” symbol permeates Kyrptonian society, and though it stands for “hope,” Waid unpacks that notion better than Zack Snyder’s Man of Steel does. Snyder simply relegates the “S” symbol to a few lines of dialogue. To Waid, the symbol is inherent in Superman’s understanding of himself and his world. It signifies Clark’s entire race, his whole culture, a constant theme and image weaving its way through Kryptonian history. The symbol itself stands for hope, making Clark realize the legacy he’s supposed to carry as not only a human hero but as a representative of his people. When villains later co-opt the symbol for their own nefarious purposes, Superman has to literally take it back. His symbol, and the memory of Krypton, is not meant to be abused in such a fashion. It's not something to be glossed over or corrupted.

As he dives into the symbolism behind Superman's identity and purpose, Waid also explores the human side of Clark. Early scenes between Clark and his parents showcase just how integral they are to his life. Clark’s heritage may be connected to Krypton, but his formative years are tethered to Earth and Smallville. Waid includes beautiful imagery such as a dent in the Kent’s ceiling Clark made as a child or Clark with bundles of seed he helps his father move.

Waid wonderfully showcases the unique struggles and advantages that come with raising a child like Clark; a few later scenes see Jonathan Kent struggle to understand his son as he comes to grips with the young man’s decision to go, as Jonathan sees it, “play superhero” in the big city. He’s forced to grapple with Clark’s plans, with Martha encouraging those plans, with the idea that the son he’s known and loved all his life is not just your average kid. As Clark strives to understand the two halves of himself, so must the Kents force themselves beyond initial frustrations to understand that same dichotomy.

Scroll to Continue
Jonathan slowly learns he Kent keep a hold of Clark forver

Jonathan slowly learns he Kent keep a hold of Clark forver

From Smallville to Metropolis

Naturally, any analysis of Clark’s “human” side also includes his interactions with Metropolis, The Daily Globe, and its pool of staffers including Jimmy Olsen, Perry White, and long-running love interest Lois Lane. Waid crafts these first interactions as well as he creates scenes with the Kents; the intentionally aloof, klutzy Clark Kent uses his awkwardness to great effect as he bumbles along with his superior and coworkers. A couple different scenes picture Clark apart from other Globe employees, either listening in on conversation about him from a few pedantic coworkers or being completely overlooked by janitorial staff shutting down the office for the night. In other words, he does his job too well…yet to hilarious effect.

Periodically, Waid stresses the point a bit too much–Clark’s first interaction with Perry White sees the new reporter intentionally knock over a pen holder (literally, one might say, leaning into his disguise); as much as this helps establish Clark’s “klutzy” nature, the art and dialogue fail to make the moment seem purely accidental. Scenes with Lois Lane seem more natural--Waid's Lois is tough and driven, with interactions between her and Clark hinting she sees more in him than he'd like. She's not necessarily able to penetrate his disguise and realize he's Superman, but Waid gives her investigative skills decent credit as she tries to discern what it is about Clark which makes him so unique.

Waid is also able to rationally justify several of Clark’s choices behind his bumbling reporter persona. The fit young man hides his size under bulky jackets, alters his voice when talking as Superman, and wears a pair of glasses to minimize the bright blueness of his eyes. Waid goes through these piece by piece, crafting a unique visual persona for Clark to assume. One can easily slap a pair of glasses over his eyes and run with the simple notion that no one would be able to tell the difference between Clark Kent and Superman; Waid, to his credit, attempts to establish particular reasons behind these decisions, working them into the narrative rather than letting the notions stand silently on their own.

Thank goodness he doesn't use contacts

Thank goodness he doesn't use contacts

Lex Luthor, Superman’s arch nemesis, is given almost as much page space as Clark. Where other writers had developed him as a mad scientist or corporate businessman from the get-go, Waid dips into the character’s past to better understand how he became the ego-centric mogul who holds Metropolis in the palm of his hand. Waid tethers Lex’s past to Smallville, a previously introduced bit of continuity Byrne seemingly retconned with his series. Some of Waid’s more powerful scenes see Clark and Lex develop a friendship as Clark tries pulling Lex out of his self-created shell.

Waid establishes Lex’s mannerisms and personality as, not just the result of his genius, but as something deeper, a personality issue perhaps. Lex behaves far differently than his peers and even the adults around him; for all his intelligence, he seems genuinely incapable of crafting natural human relationships…outside Clark. Waid forges this connection of “otherness” between them–Clark, the actual alien, befriending Lex, who feels like an alien or at least as out of place as a person can feel in their hometown.

Both boys are different in their own way and all Clark wants to accomplish is help Lex better understand his uniqueness. But Lex struggles to listen and understand from Clark’s perspective, even as he wishes people understood him better. These conflicting mannerisms extend into adulthood, as Waid crafts an antagonist who isn’t necessarily evil for the sake of villainy or greed…but as someone who just wants to be seen. Lex craves the acceptance he feels he never received as a child (from his father, other adults, or peers), and as he grows more powerful, this transforms into a hunger for attention. Like Clark, Lex has his own “birthright” to grapple with.

Lex would probably prefer missing this photo op

Lex would probably prefer missing this photo op

Looking to the Sky to Learn About Below

What Waid does best is give his characters a lens to focus their growth through. In this case, the key word really is “birthright.” The word focuses on the purposes, powers, and possibilities Waid’s characters are born with, and the struggle throughout the series becomes how those characters respond to those details.

You see it in how Clark wrestles to reconcile his Kryptonian powers and purposes with the Kents’ virtues. You see it when Jonathan Kent struggles to view his son, the boy he raised from an infant to a man, embracing a superhuman side of himself Jonathan doesn’t fully understand. You see it in how Lex fails to fashion meaningful relationships with most folks and squanders the one he does form, sinking deeper and deeper into himself as a result.

As he crafts fantastic characterization, Waid never forgets this is a superhero comic, even if it is a wonderfully introspective superhero comic. A good chunk of the series’ third act is dedicated to Superman’s battle against a fake Kryptonian army as Luthor attempts to ruin the goodwill Clark has created in Metropolis. No other “supervillains” appear throughout the series, but Clark is given the chance to stretch his sun-soaked muscles against gunmen, terrorists, and naturally occurring disasters. There’s a grounded, vaguely post-9/11 aura permeating the series. Sure, chunks of green space rock and robots appear, but most of Waid’s series feels engagingly down to Earth.

"Alright, be cool, you just saved her life, say something awesome..."

"Alright, be cool, you just saved her life, say something awesome..."

Waid’s series is perhaps not quite as joyful as Byrne’s rendition–moments in Man of Steel certainly feel more “fun” than modern depictions of Superman–but Birthright never comes across as excessively grim. More serious undertones run through the story, but at its heart, Waid’s story is entertaining for all the right reasons: strong writing, a great cast, powerful themes, and a Superman you’d never confuse with a bird or a plane. A scene near the end tethers beautifully to the beginning, serving as one of the most emotionally cathartic moments I’ve read in a comic. It brings Waid’s story full circle, reminding viewers of where Superman came from and how his origins shaped his present. As you skim the final panels, you realize how deep Superman’s identity is tethered to home–whether it’s the planet he doesn’t remember, the small town where he was raised, or the metropolitan city where he establishes his superhuman persona–and how important his birthright truly is to the man and hero he’s become.

© 2022 Nathan Kiehn

Related Articles