All-Star Superman: Exploring the Harmonious Dichotomy of Dual Identities
Introduction
“It’s a bird…it’s a plane…it’s not Clark Kent?”
Superman tends to be a divisive superhero, and the main issue is centered around his superpowers. While some fans are drawn to the immense scope of his powers, others find them a source of contention, as his abilities sometimes lead to questions about narrative tension and relatability. The ongoing discussion about the vast magnitude of Superman's powers inherently delves into the complex nature of his dual identity. All-Star Superman, created by the author Grant Morrison and illustrator Frank Quitely as a 12-issue serial that ran from 2005 to 2008, is a story that beautifully displays the dichotomy and harmony of Superman and Clark Kent.[1] On a single page of the graphic novel, Superman's identities are explored, and the notion of absolute dichotomy in the Superman narrative is challenged by seamlessly blending his two opposing sides into one through the visual integration of his dual identities.
Grant Morrison, Jamie Grant, Phil Balsman, and Travis Lanham, All-Star Superman (Burbank, CA: DC Comics, 2011), page 132
The Serial Figure and Evolution of Powers
Let’s start at the beginning. In 1938, writer Jerry Siegel and artist Joe Shuster introduced Superman to the world in DC’s Action Comics.[2] Superman is now considered one of the most iconic and enduring superheroes of all time. He was born on the planet Krypton under a red sun, and given the name Kal-El. As an infant, he was sent to Earth by his parents just before Krypton’s destruction. There, he was discovered and adopted by Jonathan and Martha Kent, who raised him as their son in the town of Smallville, Kansas. He is therefore from two planets, both Krypton and Earth.
As Superman’s character has evolved, so have his superpowers. Superman possesses extraordinary superhuman abilities due to Earth’s yellow sun and lower gravity. This core aspect of his character remains consistent across different iterations. However, Superman is a serial figure (the same character that is consistent across many different iterations but one that can have mutating properties), and his popularity has led to various interpretations of the character. Frank Kelleter describes the serial figure in “Five Ways of Looking at Popular Seriality” by explaining that “the more their proliferation tells its own story…the more these serial figures allow…increasingly rounded incarnations that can explore alternative shapes and nuances in great detail.” [3]
The Golden Age of Comics (1938–1956) was born with the introduction of Superman, and his success led to other iconic characters such as Batman and Robin, Wonder Woman, Plastic Man, Green Lantern, and Flash. During the Golden Age of Comics, Superman possessed a range of superhuman abilities. He exhibited super strength, super speed, super durability, heightened senses, mind abilities, x-ray vision, heat vision, and super leaping.[4] Yes, you read that right; he had the ability to leap great distances—it’s not until later that he develops the ability to fly. Additionally, while Superman was “super durable,” he was not completely invincible. While modern firearms had no effect on him, heavy artillery could cause him injury. These comics were often cheap and portable, making them easy to mass distribute. They also often had inspirational or patriotic stories of good triumphing over evil. (For example, Captain America was created to aid the war effort, and he was pictured battling Hitler on the front cover.) Although superhero comics were the most popular during this period, many other comics emerged, such as horror, crime, sci-fi, western, teen comics, and animal and jungle-themed comics. By the time of the Silver Age Comics (1956–1970), Superman could fly and was invincible. It’s during that time that he also develops super hearing, super breath[5], and super healing.[6] These powers, alongside his established abilities in the Golden Age Comics, formed the foundation of Superman’s power set, which would remain relatively consistent.
The Big Bang Theory set at the Warner Bros. Studios, Burbank. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
By the mid-1950s, Superhero comics were suffering from low readership—people were no longer excited for just any story about a superhuman in spandex and had a plethora of other options to read. Science and technology-related comics were a hit during this period, and some superhero comics tried to revitalize themselves by turning to science. The Flash was largely ignored during his first release in the Golden Age but was revitalized and became a massive success at the beginning of the Silver Age in 1956. This success gave other superhero writers hope and led to the reintroduction of other characters, such as Green Lantern and the Justice League. It’s worth noting that although readership was down, Superman was the one superhero who remained popular throughout the two eras, due to his early ability to cross media from comics to radio shows to television.
Invulnerability and Weakness
Superman’s one real canonical weakness, Kryptonite, was first introduced in the 1943 Adventures of Superman radio show, but it was first included in the comics in 1949’s Superman #61. Although there are different forms of Kryptonite in different colors[7], the primary one is Green Kryptonite, which weakens Superman and is fatal with long-term exposure. This version of Kryptonite causes severe muscular weakness and excruciating pain. This addition of a rock that weakens Superman was done to address the realization that an invincible superhero would lack dramatic tension, as every hero needs a vulnerability of some kind. Despite this weakness, Superman remained god-like and essentially impervious to any Earthly harm. This allows him to project a persona of confidence and serenity. He is superior to all the humans he protects… and this makes him a tad bit boring.
In his book Do The Gods Wear Capes? comics expert Ben Saunders admits, “I thought Superman was dull.”[8] He acknowledges that Superman’s excessive power and psychological stability contribute to this perception. Despite the destruction of his home planet, Superman remains remarkably well-adjusted, which can make it difficult for readers to relate to him. Saunders argues that as the most powerful being in the universe, Superman lacks genuine problems, a sentiment I agree with. At least based on the early comics, that is the case.
Mortality
All-Star Superman offers something new. It brings us a Superman who is going to die.[9] This comic introduces a Superman who is facing mortality. Unlike the previous portrayal, this version of Superman is confronted with the reality of his impending death, which adds complexity and emotional depth to his story.
Right from the start, the reader knows Superman is dying and has little time left before his final death. But part of the reader feels as if there is no way the writers would actually kill him off… right? The idea of his demise seems implausible, as we have rarely seen anything bad happen to Superman. However, against all expectations, he dies. In retrospect, the narrative of the comic proves to be a profoundly beautiful farewell to the superhero. Superman, knowing he’s going to die, makes this moment nostalgic and grief-stricken and so immensely human. It is difficult for an invincible man to understand the plights of mortality and weakness until he experiences them himself, and that’s what All-Star Superman does. Superman’s experiences depict him as increasingly human and less like a god, making him more relatable to the reader.
As Superman faces his mortality, his persona as Clark Kent becomes even more crucial. Clark Kent represents the human side of Superman, the everyday person who experiences emotions, relationships, and the struggles of existence. The impending death of Superman forces him to confront his dual identity and consider how he wants to spend his remaining time. By bringing mortality to the forefront, All-Star Superman presents a more harmonious figure by integrating the vulnerability and humanity of Clark Kent with the powers of Superman. The exploration of mortality in All-Star Superman ultimately bridges the gap between Superman and Clark Kent, allowing the two personas to merge seamlessly.
Grant Morrison, Jamie Grant, Phil Balsman, and Travis Lanham. All-Star Superman (Burbank, CA: DC Comics, 2011), back cover
Exploring Harmony in Dichotomy through Visual Analysis
There’s one drawing in All-Star Superman that offers a complex analysis of our superhero through the depiction of Clark Kent and Superman’s bodies (above). Although they are the same person, they are also two very different characters. The world sees these two personas as a division, and they must protect Superman's real identity. Thus, Clark Kent must run contrary to Superman. This is true from their appearance down to their characteristics. Clark Kent is typically portrayed as humble, shy, and occasionally bumbling. He deliberately downplays his abilities and tries to avoid drawing attention to himself. He often appears as an average guy who is somewhat awkward and clumsy. In this specific version of the Superman story, Clark Kent also curves his spine. Superman, on the other hand, is often depicted as a larger-than-life hero who saves the day and stops major threats to humanity. He’s a graceful and serene figure, and in this depiction, has perfect posture. For most of the world, these two figures are a dichotomy; their mutual identity as the same person is a closely guarded secret. It’s only around specific people that they can form a harmonious figure.
Page 132 is particularly beautiful and portrays the concurrent contrast and unity within the character in merely five panels. Before proceeding panel by panel, it is crucial to take note of the panel size and the page's color scheme. On the page, the panel sizes are strategically aligned with the passage of time. The initial two panels are elongated, conveying a slower passage of time, while the subsequent two panels are only half the size of the first two, creating an impression of time passing more swiftly. This artistic technique serves the narrative well, as the first two panels effectively illustrate the extended time required to throw the tree up into the air. In contrast, the two smaller panels efficiently depict the brief duration it takes for the two super-beings to lift off the ground and soar into the sky. Consistency in the page's colors further enhances the visual experience. Across the page are shades of blue, light orange, dark purple, and brown, skillfully maintained throughout the artistic composition. However, blue and orange are known as complementary colors, which means they're directly opposite each other on the color wheel. While the consistent use of these colors emphasizes harmony, their inherent opposition suggests elements of dichotomy. Through the use of color, the page itself brings two opposite figures (Superman and Clark Kent) into harmony.
Beginning with the top panel on the page, the reader encounters a heartwarming scene of a boy playing catch with his dog, Krypto. The young man throws a stick, and the eager dog is poised to chase after it. Initially, without any additional context, both figures appear extremely ordinary. The only hint that not all is as it should be is the red cape on Krypto, which alludes to the fact that he is not like other dogs. However, apart from the cape, the panel seems utterly normal, it encapsulates the essence of a man and his faithful companion. . This panel aligns with Umberto Eco's perspective in “The Myth of Superman,” where he explains the significance of Clark Kent as an integral part of the Superman narrative. Clark Kent, an average guy, serves as a relatable figure for the ordinary reader. As Eco expresses, “Clark Kent personifies fairly typically the average reader who is harassed by complexes and despised by his fellow men.”[10] And in this panel, he is just an average guy out with his dog playing catch: something most average citizens can identify with.
Krypto the Superdog logo, Source: Ownwork
This file is licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
In the next panel, a striking scene unfolds: an enormous tree soaring upwards into outer space, seemingly coming right out at the reader. The clever use of perspective intensifies the visual impact. Here, motion blur is used to depict the object's movement instead of motion lines. This effect is unique to contemporary comics, whereas motion lines were used in the old Superman comics. The significance of this panel becomes evident as it highlights that the young man, Clark Kent, is anything but ordinary. He possesses powers far beyond those of an average person from Kansas. Moreover, the image deserves attention for its depiction of America from space. In this depiction of America, this panel underscores Superman's traditional association with the values of “Truth, Justice, and the American Way.” This image depicts the nationalistic ideology at the heart of the traditional Superman comics. However, intriguingly, the depiction of America in this panel appears unfocused and blurry due to the motion blur effect. Consequently, it suggests that the current focus lies on the interaction between Clark Kent and his dog, prioritizing their personal connection over national concerns. This subtle nuance adds depth to the narrative, emphasizing the human aspect of this Superman story. In the next panel, Krypto is depicted dashing after the tree, and Clark Kent is on the verge of chasing after his super-powered canine companion. The artist adopts a modern approach to convey Krypto's motion, utilizing motion lines in the form of a light blur. This is a distinctive artistic choice that brings together the old tradition with modern artistic approaches. These motion lines, distinctively red like Superman's iconic insignia, start intensely bright around Krypto and gradually fade into the night as they lead closer to Earth. Clearly, he is no ordinary dog, either.
The following panel shows Clark Kent as he dramatically rips open his shirt, revealing the iconic Superman crest, launching into space to chase after his dog. The perspective shifts, granting the reader a bird's-eye view of Superman ascending from the ground. This panel uses clothing to depict the dual identity of Superman. He is both the ordinary farm boy in the button-up and the extraterrestrial from Krypton in the superhero costume with his family crest. Across the last two panels, the vibrant colors of Superman and Krypto's uniforms boldly contrast with the backdrop, subtly suggesting that they do not entirely belong to this world. Yet, paradoxically, they are undeniably part of it.
The Superman/Clark Kent character has two families, two heritages, and two identities that are often at odds with each other. He is simultaneously an alien who will never fully be someone from Earth while also having been raised on Earth since infancy, so he’s not purely Kryptonian. Although his bi-planet background can be divisive, this image of Superman ripping his Clark Kent shirt and having both articles of clothing present in this transitory moment makes both identities present and united in a single shot. He easily embodies both identities, underscoring the intricate blending of his human and alien personas.
The final panel on the page is of Superman’s adopted family, the family that gave him the name and identity of Clark Kent: his parents (in all senses of the word other than biologically). They raised him on the Kansas plains as a farm boy, and this panel on the page grounds Superman as being a figure who is more human than Kryptonian. He was raised on Earth with loving human parents; he is just a kid from a small town. The significance of his parents' clothing colors adds a layer of complexity to the image. Both wear blue and red attire, resembling the colors of Superman's Kryptonian super suit, albeit in slightly darker shades. Pa Kent's overalls mirror the darkest blue of the night sky, while Ma Kent's red dress matches the dusky red hues of the Kansas plains. The deliberate use of these colors establishes a strong connection between the parents and their son. Yet, the subtle off-coloring suggests that they are not his biological parents. This artistic choice hints at the underlying truth of Superman's alien origins, subtly differentiating him from his Earthly parents. In this final panel, the juxtaposition of colors and themes beautifully encapsulates the complex interplay of identity, belonging, and family in Superman's life, making it a poignant and thought-provoking conclusion to the page.
Conclusion
This page portrays the dichotomy of Clark Kent and Superman, while also showcasing their remarkable balance within one person. These two characters share a single body, and its extraordinary abilities persist regardless of his outward appearance. Around his family, the Superman and Clark Kent character merge into one harmonious character. This unique moment of convergence is exclusive to this page in All-Star Superman. He is both Clark Kent, the farm boy, and the alien from Krypton capable of incredible feats. On this page both identities are interconnected and merged seamlessly when Superman is with his adopted family, representing the blending of humanity with god-like powers.
Notes
[1] Comics are complicated, since they often have a writer, illustrator, inker, letterer, and colorist. The primary creators for this comic are Grant Morrison and Frank Quietly but the letterers Phil Balsman and Travis Lanham also deserve credit as well. Grant Morrison, Frank Quitely, Jamie Grant, Phil Balsman, and Travis Lanham, All-Star Superman (Burbank, CA: DC Comics, 2011).
[2] M. Eury and Peter Sanderson, "Superman." Encyclopedia Britannica, June 27, 2023. https://www.britannica.com/topic/Superman-fictional-character.
[3] Frank Kelleter, “Five Ways of Looking at Popular Seriality,” Media of Serial Narrative (2017): 8. https://doi.org/10.2307/j.ctv10crd8x.5.
[4] John Darowski and Joseph Darowski, “Superman Takes to The Air: The Radio Adaptations of the Man of Steel,” in Adapting Superman: Essays on the Transmedia Man of Steel, ed. John Darowski, 57–76 (Jefferson, NC: McFarland, 2021).
[5] As a fun fact: “Super breath” includes freeze breath and the power to generate winds; this also led to his ridiculous super sneeze in Action Comics #273!
[6] Jerry Seigel, Action Comics #273, 1961.
[7] There were several other Kryptonite colors, many of which were introduced during the Silver Age Comics. For starters, Red Kryptonite caused aggressive and odd behavior, White Kryptonite killed plants, Blue Kryptonite affected the Bizarro Kryptonians, Red-Gold removed memories, and Black split people into their good and evil selves. Then there was also Pink Kryptonite which could switch Superman’s gender and Orange Kryptonite that gave him the powers of an animal. Kryptonite has a much more complicated history with the Bronze Age Comics and the events from CRISIS ON INFINITE EARTHS. But the primary one is Green Kryptonite, and it shows up in many of the Superman series. MasonDowney, “The Weird and Wonderful History of Kryptonite.” DC Blog. Accessed March 15, 2024. https://www.dc.com/blog/2018/04/05/the-weird-and-wonderful-history-of-kryptonite.
[8] Ben Saunders, Emma Mason, and Mark Knight, Do The Gods Wear Capes?: Spirituality, Fantasy, and Superheroes (London ; New York: Continuum, 2011).
[9] Grant Morrison, Frank Quitely, Jamie Grant, Phil Balsman, and Travis Lanham, All-Star Superman.
[10] Umberto Eco and Natalie Chilton, “The Myth of Superman,” Diacritics 2, no. 1 (1972): 14–22. https://doi.org/10.2307/464920.
Katherine (Katie) Terrell
Katie Terrell is a senior Art History major at Stanford University (graduating class of 2024). She focuses on Contemporary and Modern art, as well as some Film and Media studies-related topics. If you found this essay interesting, her other published works are on the transmediality of Batman in the Northwestern Art Review and an essay on the films of Ernst Lubitsch in the Berkley Undergraduate History Journal.