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– Jor-El’s talk with the council is a classic piece of Superman lore, now with a hint of an environmental spin. This is a reference to the opening narration of 1978’s Superman: The Movie, which describes “a symbol of hope for the city of Metropolis.” Later in the film, Superman tells Lois that the “not an S” means “hope” on Krypton. Different Kryptonian houses each have their own crests.
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As Supes himself points out later on, “it’s not an S” but a Kryptonian family crest.
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Man of Steel continues a tradition begun by Superman: The Movie, and that was later adopted for the Superboy TV series, Lois & Clark, and finally (fairly recently, to be honest) into the comics themselves. I’m not sure why those names were changed, but later comics illustrated that Jor-L and Lora were the alternate universe Earth-2 versions of the more familiar Jor-El and Lara (and of course, the Earth-2 Superman is thus Kal-L). When first introduced, they were Jor-L and Lora. Jor-El and Lara were alluded to (but not by name) in Action Comics #1, but weren’t actually seen in comics until More Fun Comics #101 in 1945. Clearly, that doesn’t happen here, so there will be no Bottle City of Kandor in future films. – Also note that all of the action on Krypton takes place in or around the city of Kandor, which is most famous in the comics for having been shrunk down and bottled by Brainiac before Krypton’s destruction. The other one is Kelor, another robot serving the House of El in the Man of Steelcomic. One of them is identified as Kelex (who also recently put in an appearance on the SupergirlTV series). – The two floating ‘droids attending the birth are also right out of the Man of Steel comic. Just in case there was any doubt left in anybody’s minds that this was a completely new beginning for Superman’s cinematic legend, I suspect opening with Lara in labor was a device to make it perfectly clear once and for all that this wasn’t a Superman Returns sequel or a further continuation of the Donner/Reeve/Salkind films. There’s a kind of meta message here, though, with the audience literally witnessing Superman’s birth.
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It’s not clear if Jor-El and Lara also chose to conceive their child the old-fashioned/more fun way in the film, or if that practice has fallen by the wayside in the movie Krypton. Genetic material was co-mingled in birthing matrixes, and that’s where the embryo would develop. It was a success.īut as you might imagine, things like actual sex fell by the wayside. Nearly 50 years of Superman continuity was thrown out the window in favor of Byrne’s more realistic take on the legend. While this is common practice in comics these days (ESPECIALLY at DC), in 1986 it was virtually unheard of. Substitute the word “movies” for “comics” here, and you can already see the parallels to Supes’ big screen adventures.Ĭelebrated writer/artist John Byrne was brought in to restart the Superman mythos. By the early 1980s, Superman’s popularity in comics was waning, and DC Comics decided that Supes needed a completely fresh start and a new, more modern take on his mythology. Obviously, Superman has long been referred to as “the man of steel” at least since his first animated outing in the Fleischer Studios’ spectacular animated cartoon.īut Man of Steel was also the name of another Superman reboot, long before reboot was a word that anyone associated with anything other than a computer. – The title of the film itself, Man of Steel, is a callback to a couple of things.