When Superman Meets 1920's Horror

Añadido: 2026-05-22

[00:00:12]It's funny that a man's limitless power is his biggest restriction. How do you give the closest thing to God an interesting challenge while keeping true to his core identity? Well, one idea is saying, "Fuck Kansas." in making our favorite boy scout crash land in the dystopian world of Fritz Lang's 1927 expressionist horror film Metropolis. If you've never seen the silent film, this might seem like a really weird crossover. And if you have seen the film, still might feel pretty odd.

[00:00:37]Unlike his brooding counterpart, Superman is never really put into real elseorld stories. By that I mean worlds that feel different from mainline DC. I understand and quite enjoy a lot of the non-cannon stories featuring Big Blue, but they don't really feel like they're pushing the Elseorld's moniker to its fullest potential, like Gotham by Gas Light or the plethora of dope [ __ ] to come out of the Legends of the Dark Knight anthology. Or maybe these kinds of stories do exist and people just don't talk about them because they all suck and I'm just blissfully unaware of their existence. However, lucky for us, the story we're talking about today, Superman's Metropolis, doesn't suck. And once you peel back the surface, the crossover is actually pretty genius. I'm only going to touch on the source material very briefly because the comic follows the film's plot pretty onetoone for most of the story, but I highly recommend watching it. It's free on YouTube and it's just kind of wild to see it and think that it was made like a hundred years ago. And even by today's standards, it's still a great watch. The 1927 film is about a dystopian future with a very strong social divide. You have the city workers who spend most of their days keeping the city alive by tending to the dangerous and highly volatile machinery. And you have the elite who spend their days in idle pleasure in the great city of Metropolis, reaping the spoils of those beneath them. I mean that figuratively and literally because the city workers, the grunts of the city, actually live in their own smaller dingy city underground. And the plot revolves around Fredder, the son of the brains behind this great city, reaching his destiny of liberating and being the mediator between the city workers and the brains of the operation. And I understand that me labeling it a horror film might ruffle the feathers of a few film bros in the audience. And while I agree there's very little traditional horror elements, you can't argue that even compared to modern horror movies, the film gives off a very eerie and very strange uncanny vibe that makes you feel very uncomfortable. Like most expressionist art, I also first learned about it in a horror film class back when I was in film school, so I always viewed it through that lens. Puned. In horror or not, the comic is able to capture all of this uncanniness perfectly. The creative team that blessed us with such a fantastic adaptation are Jean Mark Officer and his wife Randy under the joint name RJM Laugher with art by the one and only Ted McKver. I know, another Ted McKver video. I couldn't be more predictable if I tried. Rory Thomas also has writing credits on the story, but it's debated how much he actually contributed not just to this story, but his entire career. Not trying to discount the Marvel method, just felt like that was important to bring up. If you couldn't tell by the name, Jean Marks, a French author, and alongside his wife Randy, they've been super prolific in the world of comics since the 80s. They've seemingly worked on mainly anthologies, both French and US comics, but they've dipped their toes in mainline stories like writing Superman 579 and a bunch of Doctor Strange issues. As for who delivered the stunning art, fans of the channel are well educated on Ted McKver, or at least they should be because I try to yap about him whenever I get the chance. So, after this video, if you end up wanting to learn more about him, go check out my other videos talking about his work. But for now, all that you need to know is that there's not really another artist that would be able to capture the very strange vibe the film has. And I'm clearly not the only person that thinks this because editor of DC at the time, Mike Carlin, told McKver that he would never be able to touch the Man of Steel. That was until he got this script and realized that McKver would be perfect for it. And he was just so right. The art in this comic is just so [ __ ] cool. But before we jump into that, don't forget to like and subscribe and all that other YouTube junk. You know, that's if you end up enjoying the video. And if you end up really enjoying the video, consider becoming a channel member. Um, you get access to videos early sometimes, depending on how quickly I edit them. And if you're on mobile, consider hyping. Um, I don't really think that does anything like at all, but I guess it couldn't hurt to ask. All right, with all that out of the way, we can jump into the meat and potatoes of this. Also, also I have this signed. Where's it at? Not really. I I didn't really know where else to put that in the video. I just I just kind of had to flex on y'all. Yeah, this cover is [ __ ] nuts. It interpolates the iconic film poster and gives Superman this very stiff, almost metallic looking suit that might not be for everyone, but I absolutely love it given the context of the story. Also, I am pretty pissed because the original art for this cover sat on eBay for a very long time for only like $3 $4,000, which, you know, isn't nothing to sneeze at. But considering it's a giant handpainted cover featuring, you know, the biggest superhero of all time, it's kind of a steal. And um too bad the YouTube thing didn't take off before that. The comic opens with a very beautiful quote that spoken to Fredder, the protagonist of the film that allows him to understand his destiny of, you know, being the mediator between the rich folk and the city workers. It reads, "The mediator between brain and muscle must be the heart." And I mean, look at what McKver is bringing to the table here. When asked about the story, he said that he was more excited to draw the city of Metropolis and all the weird steampunk aesthetic than getting to work on a such a huge character like Superman. And you can see this excitement firsthand. And the comic continues with this beautiful two-page spread of the great city of Metropolis that looks like if Bruce Tim was hired to create Superman the animated series. The city feels so congested with the buildings almost stacked on top of one another. You also have the iconic Daily Planet globe at top a skyscraper to remind the reader that this is a Superman story at its core. I also think the blimps are neat and the narration. My god, I know we're only on page three, but let me read you some of this to kind of set the tone.

[00:06:25]When the sun sinks at the back of Metropolis, the houses turn to mountains and the streets to valleys. The search lights in all the colors of the rainbow begin to play around the new tower of Babel. And then the siren sounds without being shrill, it penetrates all walls.

[00:06:44]Not only does it give the reader a taste of what's to come in regards to the vibe of the big city, using the metaphor of the city literally looking for people to devour, but it's starting to plant the seeds of the religious themes. That's a pretty big part of the film. I also like that siren is capitalized here. It gives a double meaning of something like a police siren or a siren singing her song. both essentially meaning the same thing. The city devours. On the following page, we are met with the harsh conditions that the working class is in. They're described as living food being shoveled into Metropolis to silence her hunger briefly before another alarm is sound. A roar from the machine signaling a shift change, but more importantly announcing her hunger has returned. And then we are met with the man of steel himself, Clark. This time spelled with a C at the end instead of a K because as we all know that's the most German spelling of the name. He's the son of John Kent, the mind behind this great city. And currently, he's playfully chasing Lana around this beautiful garden. Both of them blissfully unaware of the atrocities that's going on beneath this great city.

[00:07:45]We also get a glimpse of him discovering his powers for the first time because, as you know, Lana's playfully hiding from him. He says, "Don't you know no one can hide from me? Sometimes it's like I can see through pillars, walls, not to mention your garments." It's not weird though because she's totally receptive and she's like, "Do you like what you see?" And he's like, "Of course I do." And then they start, you know, having sex in a very public garden. But thankfully, they're they're [ __ ] blocked by a visitor. Lois enters the garden with a gaggle of very dirty, filthy, stinky children from the underground to show the rich folk and to hopefully find the person that's meant to save them.

[00:08:21]She gets kicked out, but before leaving, she makes one last look at Clark, enticing him to follow her and see what's going on. So Clark quickly abandons the garden and makes his way to the great machine of Moolok named after the canonite god who is most known for being down with child sacrifice but that is up for debate in some circles. And the religious themes continue when the worker that Clark arrives to nearly collapsing from exhaustion is muttering a variation of the Lord's prayer. He says our father which art in heaven we are in hell hallowed be the name of John Kent. Thy kingdom come, machine, thy will be done. But what is thy will? What is thy will? And there is presumably more, but he just passes out. And during this whole thing, Clark trying to get the man's attention, but the man either ignores him or he's just too busy being locked in trying to get his bag up to even notice the dude. And after he collapses, he's quickly replaced with 11811. Clark sees that these aren't people. These are just nameless cogs who are quickly replaced when they are no longer useful to the great machine. The replacement is unable to halt the hunger of the great Moolok, and it lashes out in anger, causing a grand explosion that injures some and kills few. And after witnessing everything, Clark falls to his knees, weeping at his newfound understanding. He then rushes to his father, who is overseeing the great creation, telling his assistant, Jimmy Olsen, to tell the workers to increase production, and that excuses will not be tolerated. And when an exhausted, distraught Clark barges in, informing his father of the explosion and the many deaths that it caused, he brushes it off, saying things like this are unavoidable, and scolds Jimmy for allowing Clark to enter the machine room in the first place. And in the middle of Clark questioning why his father would allow for such things to happen, a man barges in with written plans found on the corpses of two of the workers. John Kent then quickly fires Jimmy, seeing that someone else brought him these plans as another mistake. Then Clark tells his father that being dismissed by him is a death sentence and quickly rushes to Jimmy's aid. Then John Kent rushes to a building that's described as being older than the city itself and it's being dwarfed by the monoliths surrounding it. John Kent meets with the inventor of the city, Luttor, and asks for his advice regarding these blueprints found. And their relationship is just so toxic. When Kent makes his arrival, he says, "I am here, Luttor."

[00:10:36]And Luttor responds, "Of course you are.

[00:10:38]Where else would a puppet be when the puppeteer pulls the strings? And Luttor insists for Kent to call him master. And it just really shows that there's layers to villain in this world. John Kent is evil, but in like a capitalist dictator way. And Luttor is just a [ __ ] cartoon character. We then get a flashback of literal projections on the wall to torment John Kent. We find out that when Metropolis was first being built, Luttor and John Kent were best friends, but then Marta came in and created a love triangle amongst them.

[00:11:06]And after she chose John Kent, Luttor does the very, you know, understandable thing and just kills her. He then ends the flashback by taunting Kent and informing the reader that right after killing Marta, he was able to brainwash John Kent and turned him into a mindless zombie when he needs. The comic continues with Olsen being put to work at the great machine, but he quickly collapses cuz he's just a soy boy pencil pusher. But lucky for him, Clark is here to fill in. He tells Jimmy to run away and to never look back before taking over his position and then pushes himself to finish the grueling 10-hour shift. And something that's important to note is that 10 hours for the city workers is actually 12 hours cuz they run on 20our clocks. And while the rich that live up top actually have the traditional 24-hour cycle. And at first I was like, this should be light work for Superman. But then I realized that he's just now coming into his powers.

[00:11:55]And unlike, you know, the traditional Superman, he didn't grow up on a farm.

[00:11:59]He grew up being a [ __ ] sheltered Nepo baby. Then the siren calls, telling everyone that their shift is over, and Clark is led by one of the workers underground because she has called another meeting. Back with Kent and Luttor, they've cracked the codes of the plans that were found on the corpses and discover that it's a map of the catacombs beneath the city. And as they make their way, Luttor is continuously mocking the mindless zombie that he's turned Kent into. And while the inventor controlling the brains of the city is like briefly touched on in the film, it feels more in an abstract sense rather than literal mind control. And while I think spelling it out like this does take away a lot of the nuance and it allows for very easy redemption of John Kent. I actually prefer this to the film's rationale of him, you know, being redeemed in the film. He goes from, you know, being such a huge workaholic and is like, I don't care about the safety of my workers. And then just kind of out of nowhere, he's like, "You know what? I should change." And because there's not enough time for him to have a traditional character arc for that change to make sense, mind control is a great alternative. And the two go deeper into the catacombs, discovering that there's a congregation of city workers.

[00:13:07]We find out that they are here to listen to Lois preach, giving them an ounce of hope in their otherwise miserable lives.

[00:13:12]And I'm sure the observant ones notice the giant S in the background. Don't worry, we'll touch on that again later.

[00:13:18]She begins to tell the story of the new Tower of Babel, which is literally about Metropolis, but is of course referencing the Tower of Babel from the book of Genesis. In said book, it's about how a bunch of people who all spoke the same language decided to build a great city to reach the heavens and the stars and God saw it, didn't like it, and changed everyone's speech so that they couldn't understand one another and be unified as one. It's been a long time since I read the good book, so that's kind of just a very quick summary of the story, and I'm sure someone will correct it if I'm wrong or expand on it because people love to do that. The story is very similar to Lois's, but instead of being rooted in religion, it's about how the greedy brains of the city didn't concern themselves with the working hands and caused this huge disconnect. And there needs to be a heart or a connector of these two worlds. Someone she calls a superman.

[00:14:08]Get it? I kind of like it. I thought it was a very cute way of trying to include that into the context of the story.

[00:14:13]Something that's very interesting as well is that some people critique that story in Genesis as God being very spiteful and scared of what humanity can do when they band together. So, he created different languages and cultures as a way to divide them. And this plays into the themes of the elite class treating the working class like [ __ ] There's once again an unspoken connection between Clark and Lois when they make eye contact. and she says perhaps even now he's here among us.

[00:14:40]>> What's up? It's editing Sid here. So, the rest of this video kind of out of focus and I I apologize for that.

[00:14:48]Somewhere I guess when I was recording I moved too close to the camera or an autofocus setting got changed or something. I'm still learning it so I apologize. And I did think about re-recording this, you know, the last half of the video, but this was already like my third attempt at recording this.

[00:15:04]And, you know, it's 50 minutes into the video, and I figured if you guys made it this far, you're in it for the long haul and really won't mind a little bit of blurriness. So, again, I apologize for that, and I thank you guys for making it this far. But if you you can't make it till the end, I completely understand.

[00:15:20]Um, so yeah, take it away, passage. Then a couple people in the congregation speak up saying that they'll continue to wait for their savior but not for much longer. This shows a level of impatience and Luttor who has been watching this the whole time alongside the brainwashed John Kent gets an idea to use this as a way to drive a wedge amongst the workers and tear them apart from the inside. The church session concludes and Clark goes up to Lois who instantly recognizes him.

[00:15:46]He says that while he's no superman, he might be able to be the mediator that both sides need. She then takes a metal sigil from around her neck and hands it to him and says that this is the key for Clark to unlock the intermediator within himself. Then they get to smooch it.

[00:16:01]However, this was a huge mistake. No, not because Lois has herpes, but because Lutor witnesses this and plans to use it to his advantage. Jimmy looks at the sigil and informs Clark that he saw something similar back in his father's office in one of his locked diaries. And they make their way to the office.

[00:16:18]However, back in the catacombs, Luttor begins pursuing Lois. And I have to say this is one of the most unnerving sequences I've seen in a comic. While it only lasts one page and we don't really see anything specific happen, you can feel the fear and hopelessness admitting from Lois as she tries to escape from Luttor. And moments like this is what makes McKver perfect for this kind of story. For lack of a better term, his ugly art really adds to the uncanniness and adds that touch of horror that the film has. Also, if you want more Ted McKver horror, he did a story in the Hellraiser anthology series in the9s. I think that's when it came out. It's a pretty sick story, and I plan on covering some of them, at least at some point. We then cut to the new Tower of Babel. This being John Kent's office, and the narration tells us that like moments ago, every time that he gets brainwashed, he has no idea what's going on. However, all of that changed when he laid eyes on Lois. Visions in memory of Marta flood his mind, breaking him out of the spell and allows him to see not only the monster that he's become, but the monster that he's created with Metropolis. He's realizing that the city built on the blood of those who can't even reap its greatness is a cycle that must come to an end. He goes to the wall safe and pulls out a book featuring the very same stylized logo that we keep seeing. Also, cool little detail that I didn't notice until now, but you can see the reflection of the negative space of the S in his glasses. We're then met again with Lutor and he's forcing Lois into his laboratory, unveiling his grand plan. Eventually, he wants to replace everyone in Metropolis with robots to have a city void of mistakes. But for now, he's going to imprint Lois's likeness onto his prototype robot as a way to infiltrate the city workers. And once the robot has control over the people like human Lois has, he will order them to destroy Metropolis, which in the process will destroy almost everyone in the city, and it will allow him to rebuild and easily replace everyone. And we allowed to catch our breath from this horrific scene for just a few moments when we are shown that Jimmy and Clark have found what they are looking for. We're then dropped back into the lab where Luttor has Lois in a giant vat of green science goo and is putting her likeness onto the robot.

[00:18:26]Again, while it's not traditional horror like we think of today, the whole scene evokes a very similar feeling of uncomfortability that McKver heightens with his very dirty, very claustrophobic feeling panels. Also really appreciate how vibrant the green is. Not that I disliked the color scheme before, but it's a nice change of pace. And the dialogue from Lutor here is just sokevy and gross. He says [ __ ] like, "I shall become the thief of you, Lois." I'd honestly argue that up until now, the comic has been more horrific than the film. Then the new Lois is unveiled, doing her best Weapon X impression. Back to Jimmy and Clark. They are in the new Tower of Babel and make their way through some long hallways or whatever and finally find the secret that was hidden in the locked diary of John Kent.

[00:19:10]It seems to be a machine of sorts. And the narration tells us that Clark has an unnatural, almost instinctual knowledge of knowing that he needs to put the sigil into the machine. He does so and then images of his past start flooding his mind. And what's shown is an alternate version of the traditional Superman origin story. He does the normal thing of crash landing on Earth and being found by a couple who can't have children of their own, that being Marta and John Kent. And you know, they adopt him and raise him as theirs. But a big difference is that another person that was with them was Luttor, but he's more intrigued with the spacecraft that he came in rather than the dumb stupid pukey baby. Two other key details that are important during this flashback is that one, while overcome with curiosity, Luttor touches the spacecraft, I guess, forgetting or just not knowing that when things come into our atmosphere, they get really, really hot. And so, the metal grafts to his skin. And the second thing is that he finds what's powering the ship, kryptonite. Clark then gets a vision of Luttor confessing his love for Marta. And when she turns him down, you know, he does does the whole killing thing. Then Jon walks in and sees this horrific scene unfold. As the narration tells us that Lutor was able to use the technology that he found in alien spacecraft and turn his new metal hand into some sort of mind control device.

[00:20:29]Doesn't really tell us how he can just do it now. And that's how he's had Jon under his control whenever he needs this whole time. Luttor then notices that a young Clark has been watching this whole scene unveiled and tries to kill him but can't. and his metal hand is described as being the equivalent of cardboard when put around young Clark's neck.

[00:20:47]However, Clark isn't able to resist the mind control and Luttor completely wipes his memory. I'm not going to touch on all of them, but there are a few things that might not make sense in this comic.

[00:20:58]Like, why didn't Ltor just mind control Marta rather than killing her? Why didn't he mind control Lois instead of, you know, going through the robot thing?

[00:21:09]you know, any of the other [ __ ] that had a lot of variables that could fail.

[00:21:12]However, I think all of these instances, including ones that I didn't mention, could just be chocked up to Luttor's hubris. He's shown as a very smart, but very stubborn and arrogant person who's very volatile and lashes out. Who wants to be proved right? Maybe he would have brainwashed Marta, but in the moment when she rejected him, he was just so overcome with anger that he just chokes her out. He didn't brainwash Lois because not only does he wants to test his new robot, he also wants to be the one that while controlling the robots causes the divide amongst the people and brings him down. He's drunk on power.

[00:21:44]The comic continues and we are out of the vision worlds back to the present with Jimmy and Clark. The narration tells us that once seeing the vision, he's overcome with an amount of energy and feels his long dormant abilities come to the surface. He also found in this machine, which I assume is the spaceship that he came in. There's fabric from his home world, and he decides that he's going to dawn a suit made of it. Back in the catacombs, Robot Lois is preaching to the people, filling their minds with desires of destruction, and completely removing any patience regular Lois was able to provide. And she does all of this by kind of just telling them the truth. She tells them that they're just food for Metropolis and that the city and the, you know, up top people don't care about them at all.

[00:22:25]and to turn that tiredness and hatred for life into anger and destruction to bring down the great city. And during all of this, she's dancing very provocatively, you know, to match that one scene in the film. She then orders them to destroy the machines. And while there's a couple people who speak up, understanding that doing so will destroy the lives of many. The vast majority are overcome with anger. The foreman rushes down to the workers after getting wind of the revolt and tells them that this can't possibly be the right Lois, but they just start beating his ass and not listening. Back to John Kent, the now beaten up foreman, rushes in and Kent tells him to order the troops to stop the revolt, but use as little harm as possible. However, as soon as he gets those words out, Luttor, you know, appears in his mind or on the window or somewhere, demanding him to allow the city workers to destroy Metropolis. And unfortunately for Kent, he quickly succumbs to the mind control once more and is back under Luttor's spell and orders the foreman to allow the destruction of the city. We then get these muted panels of the machines being overheated and you know exploding and whatnot. The minimal colors really reminds me of the black and white film.

[00:23:29]I like its inclusion and that Lois is the only point of color during this moment of her preaching showing that all of the city workers are just tunnel visioned on her and what she's saying as she's giving orders telling them to destroy the great machine of Moolok.

[00:23:42]Back at the tower, we see a new brainwashed John Kent watching the beginning of the destruction of his great city. On the following page, we're brought back to the muted colors and we see only the silhouette of Superman doing a bunch of what he does best, saving the day. And we're given this close-up panel of his face, but this page is just prolonging the full reveal of his new change. The saving continues again, not doing the full reveal, but this time the page has a lot more color showing the hope that he brings to the people of the city. And we get a funny moment where their city folk are saying, "Look up in the air. Is it some weward bird? An aeroplane? No, it's Clark Kent flying." And then Superman lands in front of robot Lois. Again, his full reveal not being shown because we just see the back of him. And he asks her why she's doing this. And on the following page, him being the Superman is finally revealed. And like I said before, the suit might not work for some people, but within the context of this being an adaptation of a 1920s sci-fi horror film, I I think it makes a lot of sense.

[00:24:42]And also, this suit was made by Clark, and I I don't think he knows how to sew.

[00:24:47]So, of course, it's going to look a little ugly. Anyways, Clark tries to reason with Lois, but she interrupts him with a kiss, and this reveals to him that she's not the real Lois. The way that these panels show the transition from human to robot evokes the cross dissolve technique that they used in the original film. She reveals that she's working for Lutour and tries to make him join the dark side, but you know, of course, he he ain't with that. Back at the lab, Luttor is again taunting and revealing more of his plan to Lois before um revealing himself. No, not like that. He's just showing that he's now some sort of cyborg person powered by a heart of kryptonite. And during the monologue, you can just see how blinded by his obsession with machines are. He refers to himself as being more than human. Back in the city, the robot begins just [ __ ] pummeling Superman because it's turned back into Lois and is making it harder for him to hit her.

[00:25:40]But he's eventually able to snap out of this confusion and defends himself and sends her flying with a swift kick. And one of the workers who tried to stop this revolt yells to Superman to not let robot Lois pull this very tempting looking lever because doing so will pour this [ __ ] vat of molten metal all over the worker city. Luttor, with Lois in hand, rushes into the office of John Kent to order Clark somewhere so Luttor can trap and defeat it. However, John Kent reveals that he's no longer fully under the spell of Luttor because Luttor, I guess, has used all of his magic up or something. Now he's free from Luttor's grasp. We then continue with the battle where the robot is no longer Lois and Superman knocks it off of a ledge, but it's quickly able to grab onto like a rod or something. The robot once again tries to trick Clark by turning into Lois. And she tells him that there was never another Lois. And being the dumbass he is, he believes her, but only just for a second. He then changes his mind on her once more when he pulls her up. And then she instantly lunges for the lever. But he's able to stop her, saying that even if she was the Lois that he fell in love with, all of that and everything she was teaching was a sham. But then he gives her her Terminator moments and just chucks her into the giant's pool of very, very hot metal. Clark then rushes to the new tower of Babel and sees his father beaten on the floor and in his final breath, he tells him to stop Lour from murdering Metropolis like he murdered him and Marta. Jimmy or someone busts Jimmy or someone bursts in and tells Clark that Luttor has Lois or at least someone or something that looks like Lois at top the cathedral and Superman just [ __ ] blasts off to stop him.

[00:27:20]Superman comes smashing into the church striking Luttor. Luttor then begins taunting Superman saying why don't you come closer? Your concern touches me. It touches my heart. Then Clark begins to get the side effects of kryptonites. You know that that happens in every interpretation of the manast steel. And this allows Luttor to begin kicking Superman's ass. During this, he reveals that once he discovers Superman's weakness to the rock, he would put it within the vicinity of Superman throughout these years as a way to keep Clark weak. I actually like this detail quite a lot. Once again, it shows Luttor is blinded by his power and his needs to feel smarter and prove himself right.

[00:27:58]like he could have easily just kept brainwashing Clark, but instead of that, he was like, "Let me use this smart rock device that I found." It once again just shows how blinded by power that Lutour is. He really just wanted to have a leg up on everyone. And because he couldn't kill Superman, the next best thing was to just keep him weak. Lois then comes up behind Lutour with a pipe, but he quickly strikes her and she starts to fly off the building. But Superman quickly comes to the rescue and as he grabs her, she drops the kryptonite. And it appears that right before Luttor struck her, she was able to get the kryptonite from him. And then, you know, because he has no [ __ ] heart anymore, he falls off to his death. At first, I thought she got some sort of superhuman strength and was able to rip the heart out of the chassis. But the steam coming from the hole that the rock was in makes me think that it just got super [ __ ] hot and melted out of it. Because, like he said, he's powered by the suit. So, he's using a lot more power to fight the man of steel. So, during this, it probably just got too hot and just plopped out. And the comic comes to an end with Superman speaking to the people of Metropolis, both the overworlders and the city workers. He says, "Years ago, the mind of my father conceived the plans for Metropolis. But he needed hands to build it. Your hands. Today, I was fortunate enough to wield the power to stop those sought to turn heads and hands against each other. But the day of the Superman has come and gone. From this time forward, your hands and the city's finest minds will work together to forge the destiny of Metropolis. And he ends his speech and the comic with the quote from the beginning. And while I absolutely love this comic, I do think it had the potential to be perfect, at least for me, because it's so weird and deals with these religious themes that I love in any superhero story.

[00:29:44]Unfortunately, with any adaptation, depending on how faithful it is, it will have the same flaws that the source material does. The love triangle is a pretty standard revenge plot. Clark is a [ __ ] idiot. But overall, my biggest critique is that I just wish it was longer to iron out these kinks. And I also just want to be in this world. And luckily, that's possible because I failed to mention in the beginning that this is actually part one in a threepart trilogy that adapts German expressionist films into DC stories. This is number one. The second one is placing Batman into the world of Nos Ferraratu. And the third one is placing Wonder Woman into the world of the Blue Angel. I haven't read those yet, but I at least know that Superman shows up again in the Wonder Woman story because he is on the cover.

[00:30:30]Hello, it's future Sid. So, something happened with my camera and the last couple of minutes of this video wasn't recorded, but what I was getting at was at some point I'm going to cover both Batman Ferratu and Wonder Woman the Blue Amazon. those will be a little bit because this video took me a while to make. But if you're excited for that sort of thing, uh again, don't forget to subscribe and and all that jazz. And I'm actually building my own utopian city.

[00:30:55]And the people's names that you see scrolling on screen right now are the hands of it. And we're going to need a mediator. So if you want to be a mediator, let me know.

[00:31:07]All right. Bye.