A central element in Johns and Frank’s narrative is the visual homage and re-accentuation of Richard Donner’s vision of Superman in his films: Superman: The Movie (1978) and Superman II (1980). In particular, Geoff Johns, who worked for Richard Donner before becoming a writer at DC, along with Gary Frank, craft their Superman in the likeness of Christopher Reeve, the actor who played Superman in the Donner films.

Superman holds Lois Lane above Metropolis, one can see an illustration of the principles of Greenblatt’s self-fashioning at work. Superman’s likeness, the drawing of that re-accentuation, serves as the identifying element for the audience. Looking more closely at Lois in this image, a division occurs. More important in this scene of Superman embracing Lois Lane is the expression found upon her face. The expression appears to be filled, in contrast to Superman’s calming face, with mixed emotions: anxiety, surprise, astonishment, and even a little fear. Considering that the third governing condition laid out by Greenblatt for self-fashioning notes that it “is achieved in relation to something perceived as alien, strange, or hostile,” one must consider that Superman’s appearance to Lois represents quite a shock (Renaissance Self-Fashioning 9). Superman comes off as definitely alien and strange by the manner of dress (his costume), but also through the display superhuman powers. The same knee-jerk reaction can be construed all the way back in Superman’s first appearance in Action Comics #1. Here, the cover of the issue provided no context for the perceived damage and chaos Superman inflicted by slamming a car into a boulder. One had to read the issue to uncover the context. For without it, one might easily misperceive Superman as a hostile threat or even a criminal. That same sense of ambiguity and tension emerges here via Lois’ response and expression.

Use Above Picture and Text to Answer to the Following Criteria:

Criteria: Does this image alter and yet remain familiar the way we interpret Superman?