Superman: Kal-El Returns Special #1: Welcome Home

1. Stravinsky

Writer: Mark Waid

Artist: Clayton Henry

Colorist: Marcelo Maiolo

Letterer: Dave Sharpe

This opening story was the strongest of the bunch — and that’s saying something, since every contributor was really bringing their best to this book. There’s something fundamentally wonderful about seeing Clark and Bruce interacting, when both characters are written well. They serve as loving foils for each other, and their rivalry and teamwork brings out the best in both. Mark Waid successfully blended the nostalgia felt by fans revisiting old, often retconned, stories while still managing to make a statement about who these men are now, what they stand for, and how they work together. Also, if you want to catch a glimpse of Batman as an empty nester, this is a story to grab. Combining the beautifully nihilistic work of  Stravinsky with the pop-postmodernism to which his art eventually gave birth was absolutely brilliant, and it added a layer of depth to the pages of comics history both he and Clayton Henry drew upon.

Clayton Henry was as artistically ambitious as always, and he mingled genuine love and tenderness with his usual technical virtuosity. Marcelo Maiolo’s colors were fittingly vivid. I look forward to seeing more of his work. Dave Sharpe lettered every section of this book, and he did it with all of his usual brilliance. 

2. Old Pals

Writer: Sina Grace

Artist: Dean Haspiel

Colorist: Trish Mulvihill

Letterer: Dave Sharpe

This story, like the book entire, was steeped in nostalgia. Sina depicted Superman’s ‘old pal’ as a man whose essential optimism has been tempered by constant exposure to the pervasive injustices of the world we’ve built around us. Grace depicts a Superman who is, in many ways, an anodyne for the cynicism which threatens to overwhelm the spark within every activist’s heart, the spark which (when fed and fanned by hope) demands we make the effort to enact positive change, reshaping the world into a place where all (save fascists) feel welcome. In Sina’s world, Jimmy Olsen is all of us. And Superman is there for him (for us) focused on his friend entirely, listening, providing comfort (providing the safe place for Hope to grow) and trusting in his friends to help him save the world he loves. 

Grace understands why we need a man like Superman, even and especially if he’s fictional. We, like Jimmy, require an ideal suitable to strive for. And that’s Superman’s role.

Dean Haspiel’s line work (supported by Trish Mulvihill’s sparkling colors) really leans into the shiny, simplistic Golden Age feel this story generates, and it seems, at times, to contrast with the words presented on the page. Really, it serves as a means of underlining the fundamental disconnect between the world as it is, and the world that we want. The world we, together, can make. In hope and in love. 

3. Cat’s Cradles

Writer: Marv Wolfman

Artist: Jack Herbert

Colorist: Alex Gumar?es

Letterer: Dave Sharpe

In this well-paced vignette, Superman, Lois, and Jon spend some quality family time thwarting Lex Luthor. Superman and Lois also definitely get in some action on the side, and that’s very nice to see. Healthy, happy marriages (in which both partners are present, invested, and loving) are perishingly rare in comics and the fact that Lois and Clark are so deeply invested in each other as individuals and partners is deeply refreshing — not to mention Beautifully real. Watching Clark actively mentor his son (emphasizing that he isn’t pushing him aside, or nullifying his place as Superman) was wonderful to see. 

Jack Herbert’s art is highly detailed and the proportions have a very 90’s flavor. Alex Gumar?es’ colors are jewel-like and perfectly fit the art. 

4. Home

Writer: Alex Segura

Artist: Fico Ossio

Colorist: Lee Loughridge

Letterer: Dave Sharpe

I’m going to be honest, this was probably the least appealing story for me — probably because I’m not particularly invested in the idea of the JL as a ‘family’ in the same way that, say, the X-Men or the Fantastic Four are. They’re more like The Avengers, coworkers who like each other well enough, but the roster changes so frequently that it’s difficult to believe that many of them have the kind of deep, emotional bond that is depicted here. Having said that, I know that a great many people disagree with me, and there’s definitely enough good writing, nods to history, and fantastic art on display to cover any deficit I might perceive in the plot. 

Fico Ossio’s work was absolutely delightful: packed with details and Easter eggs, laden with expression. Lee Loughridge’s colors were in every way fantastic. This was a gorgeous story, and in that sense it provided a good note to end on.