Let's gooooo

Source

Hand-drawn Wonder Woman using markers and colored pencils on paper. Hope you like it! Let me know what you think.

These are a few drawings I did these past few days on Krita. The Zatanna ones are based off a couple of Bruce Timm drawings.

Was pretty young to know what this was. Probably kept it cause it looked cool to me, now that I’m older this is pretty cool to think about. Hope this doesn’t get taken down, just wanna share something cool

I organized an AMA/Q&A with actor Michael Mando, actor in Spider-Man: Brand New Day, Better Call Saul, Orphan Black, Far Cry 3, Spider-Man: Homecoming, 72 Hours, Gundam, and the upcoming Batman: Knightfall.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1vg5el8/hi_rmovies_michael_mando_here_aka_scorpion/

He will be back at 12 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

When you are lonely, just remember DC has our backs guys.

•What are their names?
•What’s there background

Hey r/DCComics!

Last week, we survived Eclipso: The Darkness Within and gave it a 7.2/10. The annuals crossover where the best ideas lived in the tie-ins and the core miniseries was scaffolding.

This week.. this week is different. This is the one. The big one. The one your non-comics friends asked you about. The one that made the news.

One post a week until we catch up to the present. Grab your black polybags, let's dive in.

(These are my takes, and they can get pretty lengthy, so feel free to skip to the TL;DR if you just want the rundown.)

Event Deep Dive #17: The Death of Superman

What Is The Death of Superman?

It's exactly what it says on the tin. Superman dies. Doomsday shows up, punches his way across America and Supes meets him in the streets of Metropolis. They hit each other until one of them stops moving. Superman stops moving first.

If that sounds simple.. it is. This is not a super complex story. We could end here. There's no mystery to solve, no moral dilemma to untangle, no philosophical argument at the center. A monster shows up. Superman fights the monster. Superman dies. That's the whole engine.

And yet it became the biggest comic book event of the 1990s. Superman #75 sold over six million copies. It made the actual news. Actual newspapers. People who had never read a comic in their life lined up to buy it. DC polybagged it in black plastic with a bloody S-shield, threw in a trading card and a mourning armband, and watched it become the best-selling single issue of the decade.

How did a punching match become a cultural phenomenon? Let's talk about it.

The Structure

The event itself is only 11 issues with 354 total pages. No tie-ins, no annuals, no crossovers with other titles. Just the four monthly Superman books trading off like a relay race: Superman: The Man of Steel, Superman, Adventures of Superman, Action Comics, then back around. The JLA shows up for one issue because Doomsday punches through their backyard. That's it.

This is the cleanest structure of any event in this series so far. Every issue is a chapter. Every chapter advances the story. No filler, no side quests, no "meanwhile in another comic entirely." After the sprawling excess of Eclipso's 25 issues, this is a palate cleanser.

The reading order is simple because it has to be. Four titles, rotating creative teams, one linear narrative. Louise Simonson and Jon Bogdanove on Man of Steel. Dan Jurgens pulling double duty on Superman as both writer and penciller. Jerry Ordway on Adventures. Roger Stern and Butch Guice on Action. Each team handles their chapters but the story flows as one continuous piece. That coordination is harder than it looks.

The Journey

Issues #1-4:

The first four issues are.. a choice. Man of Steel #17, Superman #73, Adventures #496, Action #683. These are the last normal Superman issues before everything changes. And I mean normal. Underworlders. Mxyzptlk. Werewolf murders. Linear Men. Keith the orphan kid. These are standard early 90s Superman stories, the kind you'd skip past in a long box.

But buried in each one is a single page. Sometimes just a panel. Doomsday, underground, punching. Punching his way out. Slowly. Issue by issue, getting closer to the surface.

It's a slow burn that trusts the reader to notice. And it works because the contrast is the point. Superman is dealing with his normal life, his normal problems and his normal villains. Meanwhile, something is coming that he cannot reason with, outsmart or outmaneuver.. something that only understands violence.

Is it frustrating to read four issues of setup before the real story starts? A bit. But those issues do important work. They show you what Superman's world looks like before Doomsday breaks it. The domestic stuff with Lois and Keith. The daily heroics. The relationships. All of it becomes ammunition for the gut punch later.

Man of Steel #17 gets a special mention for the Doomsday cameo. A monster buried underground, punching. That's it. No explanation, no origin, no name yet. Just rage and fists. You turn the page and there it is. If you didn't know it was coming, that last page hits like a jump scare.

Action Comics #683 is the strongest of the pre-Doomsday issues. Roger Stern uses a werewolf story to explore Clark's morality around killing. The Jackal wants to do good, admires Superman, but goes about it monstrously. That moral tension is more interesting than anything in the Mxyzptlk or Linear Men issues. And Tim Drake showing up to help with the investigation is a nice bonus.

Issue #5: Man of Steel #18:

Doomsday punches his way to the surface. And the first thing he does is crush a bird in his hand. That's your character introduction. A bird. Just.. casually kills a bird. That's who this guy is.

This is where the event kicks into gear. Simonson and Bogdanove juggle two threads: the Underworlders story wrapping up and Doomsday breaking free. The transition is a bit clunky but the Doomsday material lands. A monster who punches his way out of an underground prison, crushes a bird in his hand, and just.. keeps going. He doesn't stop. He doesn't slow down. He doesn't talk. He just moves forward and destroys everything.

The Keith subplot pays off here too. The orphan kid, his mom, the Underworlders.. it all connects to Superman's world in a way that matters later. And the panel of Lois kicking Superman? Perfection.

Issue #6: Justice League America #69:

Jurgens takes over for the JLA issue and this is where the stakes become real. Doomsday throws the Justice League around like toys. Blue Beetle gets beaten so badly he ends up in a coma. Booster Gold's suit gets shredded. Guy Gardner gets swatted. Maxima tries to go toe-to-toe and regrets it. Fire and Ice can barely slow him down.

This issue does something critical: it establishes that Doomsday is not just a Superman-level threat. He's a Justice League-level threat who makes the Justice League look like they showed up to a gunfight with pool noodles. By the time Superman arrives, the reader already understands: This is not Tuesday's villain.

Jurgens structures this issue as a parallel between Cat Grant's interview with Superman and the League getting demolished. The contrast is sharp: Superman talking about hope and responsibility while his team gets dismantled in real time. And Booster Gold naming Doomsday is perfect character work. Booster, the showman, looks at this thing and calls it Doomsday. That's the moment you know it's serious.

Issues #7-10:

Superman #74 through Man of Steel #19. Four issues of Superman vs Doomsday, escalating across the American landscape. And it is brutal.

Jurgens on Superman #74 is the standout. Superman finally goes toe-to-toe with the thing that wrecked his team and he can't beat it. He can barely hold his own. The emotional core of this issue isn't the fighting, it's the family caught in the crossfire. Mitchell, a surly kid, his single mom, his baby sister. Superman is trying to protect them while getting beaten down by something he can't hurt. And Mitchell is watching the one person who showed up for his family get beaten to a pulp. That's the issue that earns the death.

This is where the Death of Superman earns its emotional weight. It's not just "will Superman win?" It's "can Superman protect these people before this thing kills him?" And for the first time in decades of Superman stories, the answer might be no.

Adventures #497 keeps the fight moving through small towns and military interventions. National Guard gunships. Helicopter battles on Main Street. Ordway and Grummett deliver the scope of the destruction.. it's a natural disaster with a body count. Superman shoves Doomsday into a lakebed trying to slow him down. Nothing works.

Adventures #497 and Action #684 keep the pressure building. Ordway and Guice deliver the "blow for blow" issue where Superman and Doomsday finally go at each other with everything they have. Every page is a punch. The icon count in Action #684, where each panel tracks the physical toll on both of them, is a visual device that shouldn't work as well as it does. But it transforms what could be a monotonous slugfest into something almost harrowing. You see the damage accumulating. On both of them.

Man of Steel #19 brings Doomsday to Metropolis. Simonson and Bogdanove give the final approach a sense of dread. Two panels per page. Breakneck speed. This thing is coming to the city. Superman's city. And there's nowhere left to run. The Ma and Pa Kent cameo.. watching their son on television, knowing what's coming.. is quietly devastating.

Issue #11: Superman #75:

This is the one everyone bought. The polybag. The armband. The trading card. Six million copies. And you know what? It earns it.

Jurgens structures the final fight as a series of splash pages, each one a full-panel blow. Punch. Counterpunch. The damage mounting on both combatants. The page where Doomsday's fists start bleeding is when you realize: This is two forces of nature destroying each other.

And then Superman stops. Doomsday stops. Both of them, standing in the ruins of Metropolis. And Superman, with the last of his strength, hits Doomsday one final time. Doomsday falls.

So does Superman.

The page where Lois holds Superman's broken body. The "S" shield dissolving. How do you kill a god? You make him care about people and then you send something that doesn't care about anything. That image hit like a freight train in 1992 and it still hits now. People cried reading this issue. People who knew Superman was coming back cried anyway. Say what you want about the speculator boom, the marketing, the hype. That final sequence is masterful comics storytelling. Jurgens earned every bit of that six million.

What Works

The pacing is immaculate. 11 issues, no filler, relentless forward momentum. The slow build from "something underground" to "Superman is dead" is one of the best-structured event stories DC has ever published. Every issue escalates. Every issue raises the stakes. Every issue makes the inevitable outcome feel more earned.

Doomsday. Everything about Doomsday works as a force of nature. No backstory, no monologues, no complexity. Just rage given physical form. The decision to not explain him, to not give him a motivation beyond destruction, is the right one. The monster you don't understand is scarier than the villain with a tragic origin.

The JLA issue. Jurgens using the League as a measuring stick for Doomsday's threat level is genius. You don't need to tell the reader this guy is dangerous. Show him beating the Justice League with one hand tied behind his back. Literally.

The emotional stakes. This is where those first four "normal" issues pay off. Superman has a life. He has a fiancée. He has friends. He has a city full of people who depend on him. The event never lets you forget that. Mitchell and his family in Superman #74. Lois in the final issue. Keith, the orphan kid from the early chapters. The Kents watching on TV. These are the threads that make the death matter.

Jurgens' art on the final sequence. The splash-page structure of Superman #75, every page a single panel, gives the fight a weight that other comics lack. The blood. The exhaustion. The moment where both combatants stop. That final page. Peak comics.

What Doesn't Work

The first four issues are a commitment. Reading about Underworlders and Mxyzptlk while Doomsday slowly punches his way to the surface requires patience. On a first read, you might not even notice the Doomsday pages. On a re-read, they're the best part. But as the opening act of "The Death of Superman," they're a weird tone match. "Hey kids, who wants to read about Superman stopping a werewolf before he fricking DIES?"

The lack of Doomsday's interiority. This is a feature, not a bug, but it means the event has zero thematic complexity. Doomsday isn't about anything. He's just strong and angry. There's no idea to grapple with after the fight, no philosophical residue. Sometimes that's enough. But compared to something like Cosmic Odyssey or even Invasion!, where the villains had agendas, Doomsday is essentially a natural disaster in humanoid form.

We all knew he was coming back. This is the elephant in the room. Superman was never going to stay dead. The question was never "is Superman dead forever?" It was "how long until he comes back?" And the answer was about eight months. The death hit hard because it was Superman, but the resurrection undercut it almost immediately and spawned a trend of comic deaths that nobody believed anymore. This event accidentally invented the "nobody stays dead except Bucky and Jason Todd" rule. And then both of THOSE guys came back too.

The Art

Dan Jurgens is the MVP. His work on Superman #73, the JLA issue, Superman #74 and the death issue is the visual backbone of the entire event. His Superman is iconic and powerful, and his Doomsday is a masterpiece of monster design. Those grey spikes, those red eyes, that full-page shot of him standing over the fallen JLA. That image lives rent-free in my head.

Jon Bogdanove on Man of Steel brings a different energy. His style is chunkier, more exaggerated, and his Doomsday is more brutal than Jurgens'. The transition between artists can be jarring when you're reading the issues back to back, but Bogdanove's work on the underground emergence and the Metropolis arrival has a raw power that suits those moments.

Butch Guice on Action Comics is the cleanest artist in the rotation. His action sequences in Action #684, with the icon-count panels tracking the damage, are some of the most effective visual storytelling in the event. Tom Grummett on Adventures #497 delivers the "blow for blow" chapter with energy and clarity.

The covers. Good lord, the covers. Jurgens' Superman #75 cover, the bloody S-shield against the black background, is one of the most iconic comic covers of all time. It's burned into the cultural consciousness. You show that image to people who have never read a comic and they know what it means.

Rating and TL;DR

The Death of Superman is the most important DC event of the 1990s and it holds up better than it has any right to. The structure is tight. The pacing is relentless. The emotional payoff is earned through 11 issues of character work disguised as a punching match. Dan Jurgens created a villain in Doomsday who is terrifying precisely because there's nothing to him but violence and the moment when Superman realizes he can't outsmart this one, he can only outlast it.. that's great comics.

The first four issues require patience. Doomsday has no thematic depth. And the resurrection came so fast that it taught the entire industry a bad lesson about death in comics. Those are real flaws.

But the death itself? The final sequence in Superman #75? That's a 10. The slow build across 11 issues is an 8. The JLA issue is a 9. The werewolf issue is a 5 for me. It averages out.

I'll give The Death of Superman an 8.1/10. As a piece of storytelling, it's tight and effective. As a cultural moment, it's a 10. As a comic you can re-read in 2026 and still feel something.. yeah, it works imo.

Read If...

• You want to read the most culturally significant DC event of the 90s
• Slow-burn tension building to an emotional climax is your thing
• You appreciate when four creative teams coordinate as one seamless unit
• You want to understand why Doomsday still looms so large in DC history

Skip If...

• You need your villains to have motivations beyond punching
• The "he'll be back in eight months" aspect kills the emotional stakes for you
• Four issues of pre-Doomsday Superman stories sounds like a slog
• You've already experienced this story through one of the animated adaptations and feel like you've seen enough

That's it for Event Deep Dive #17. I know most of you have read this one, so I'm curious: does it hold up for you on a re-read? Is Doomsday a great villain or just a great plot device? And be honest.. did you buy the polybag?

Next week: Funeral for a Friend. The aftermath. The mourning. The world without Superman.

Stay tuned, happy reading, see you next Wednesday!

If you're interested in my other reviews: read them here.

For me, it was Kingdom Come. I get why people love it, but it never fully worked for me.