Gunn's Superman: All-Star Expectations

Superman! Superman! Superman! The world echoes with the iconic name, set to the soaring strains of John Williams' epic guitar rendition. A hopeful new dawn for the DC Cinematic Universe bursts forth in the first trailer for James Gunn's *Superman* film.

James Gunn's *Superman*, starring David Corensworth, blasts into theaters July 11, 2025. Gunn himself serves as both screenwriter and director, a role he initially didn't plan on taking, initially focusing solely on the script.

Gunn's script draws heavily from the acclaimed *All-Star Superman* comic book, a twelve-issue miniseries penned by the legendary Grant Morrison. This story sees Superman reveal his secrets to Lois Lane, while confronting his own impending mortality. Gunn's long-standing love for comic books clearly shines through.

Inspired by arguably the greatest Superman comic ever? Fantastic! But what can we expect from a film adaptation so deeply rooted in its source material?

Table of Contents

1. One of the greatest…
2. Grant Morrison is a skilled and frugal storyteller
3. The door to the Silver Age of superheroes
4. This comic is an inventively told good story
5. It's a comic book about people
6. A story about our relationship with the past and the future
7. This comic breaks down the boundaries between the narrative and the reader
8. It's a story about boundless optimism

Image: ensigame.com… One of the greatest, if not *the* greatest, Superman comics of the 21st century is Morrison and Quitely's *All-Star Superman*. For those unfamiliar, let me pique your interest, especially in this exciting new era of the DCU. And for those who read it years ago and shelved it, let's reignite that enthusiasm.

Warning: I won't shy away from discussing *All-Star Superman*. The excitement lies not in the surprises, but in the journey. I'll avoid unnecessary retelling, but images and examples span all issues and may contain spoilers.

Here's why I love *All-Star Superman*:

Grant Morrison is a skilled and frugal storyteller

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Morrison masterfully unfolds the plot, humanizes the characters, and even shows Superman flying towards the sun—all within the first issue, while simultaneously reminding us of core Superman mythology. That alone deserves discussion.

The first page, with just eight words and four illustrations, encapsulates Superman's origin. It's a concise and powerful origin story, a testament to effective storytelling. The core image—love, a new home, hope, and faith in progress—is conveyed perfectly with minimal elements. The writers then build upon this foundation, adding depth and complexity.

The contrast between this minimalist approach and potential film adaptations is striking. For example, a scene where two micro-episodes are merged unintentionally makes Superman appear responsible for deaths.

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Morrison's minimalism persists. In issue #10, Superman's encounter with Lex Luthor in prison, where he says, "Lex, I know there's good in you," is conveyed in just a few panels—a powerful depiction of their decades-long conflict.

Similarly, the difference between Jor-El and Superman is brilliantly shown in two panels: Jor-El casually tosses a heavy key, while Superman instantly aids a broken sidekick. Morrison's dialogue, while not always concise, is impactful when at its best. He's particularly proud of the "haiku about unified field theory" in issue one and Lex Luthor's words in issue twelve.

The door to the Silver Age of superheroes

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Recent decades of superhero comics have been a journey away from the Silver Age and its legacy. Managing the chronology and the "silver" aspects is challenging.

Silver Age Superman (late 1950s) faced absurd foes, had bizarre alien pets, and escaped ridiculous situations. How do we reconcile this?

We stand on the shoulders of giants, even if we find those giants humorous. Understanding our past, even if it's through the lens of older comics, provides context. We don't need to love Dostoevsky, but understanding his legacy helps us appreciate the evolution of art.

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But how do we view the Silver Age now? We can't go back. We see flat plots, naive morals, and ridiculous characters. A museum isn't a time capsule; it's a tool for learning. Morrison understands and depicts the "dawn of the Age of Heroes," translating Silver Age comics into a language we understand today.

This comic is an inventively told good story

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Superman comics face a unique challenge: Superman doesn't *need* to fight. Most superhero stories use physical conflict to express other conflicts, but Superman's power makes this less effective.

Morrison cleverly navigates this, limiting himself to what could theoretically be done in a Silver Age comic. Most fights end quickly, and tense confrontations avoid physical combat, focusing on problem-solving. In the "new defenders of Earth" story, the test isn't defeating Kryptonians, but saving them.

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With Lex Luthor, only the villain seeks harm. Superman aims to "re-educate." Solaris is the only opponent simply defeated, reflecting the established canon of Solaris' eventual redemption.

Morrison's brilliance lies in capturing the grandeur and classic elements of Superman within a concise narrative. Superman fights to save people, competes to prove himself, and solves riddles to save loved ones.

It's a comic book about people

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What does Superman contemplate at life's end? Not his feats, but his friends. The story focuses on Lois, Jimmy, Lex Luthor—their feelings and actions. We see Superman inspire and motivate, and revisit supporting characters from the Daily Planet.

Why this focus on non-Superman characters? Because it reflects our relationship with Superman. We care less about his battles and more about the people he saves. Superman stories are ultimately about people.

A story about our relationship with the past and the future

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*All-Star Superman* explores the interplay between past and future. Superhero comics provide chronology; stories build upon each other. Morrison shows that neither escaping, denying, nor blindly following the past is sufficient. We must learn from it and build upon it.

This comic breaks down the boundaries between the narrative and the reader

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Morrison's work often blurs the lines between narrative and reader. He doesn't just play with the fourth wall; he breaks it. In *All-Star Superman*, the interaction starts with the cover, where Superman looks directly at the reader. The text addresses us directly; we are the ones Lois encourages, and Jimmy who urges us to protect Superman.

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The climax is in the final issue, where Lex Luthor looks at us, seeing the universe's structure. His words—"We are all we have"—could refer to Superman or the reader. Throughout the series, we see the world through Superman's eyes, culminating in Luthor's final perspective.

It's a story about boundless optimism

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How do we create a consistent "canon" from various stories? Morrison reflects on this process. Part of *All-Star Superman* is the idea of canon formation itself. Superman is visited by future guests who mention twelve feats he'll accomplish.

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These twelve feats—conquering time, traveling to another universe, creating life, defeating the sun—form a canon we create as we read. The series itself becomes a "variant canon," adding "Superman According to Morrison." Morrison wasn't telling a simple story; he was creating an epic.

And I believe Gunn should capture that epic scale this summer.