The real background of superman

(MENAFN) As the release of James Gunn’s new Superman film approaches, fans have reignited debates about what defines the character. Is this new version too serious, too modern, too far removed from tradition? While most agree on the basics—he should come from Krypton, live in Metropolis, and be in love with Lois Lane—Superman is often viewed as a moral, all-American icon. Yet, his earliest appearances told a very different story.

The original Superman created by Jerry Siegel and Joe Shuster in 1938 was far from the clean-cut superhero he’s known as today. Early issues portrayed him as aggressive, independent, and politically charged. “He was no super-cop. He was a super-anarchist,” according to comic historian Mark Waid. In those first Action Comics strips, Superman didn’t just stop bad guys—he smashed through doors, scared his enemies into submission, and even tossed corrupt individuals from windows, all with a sarcastic smile.

“He’s essentially a violent socialist,” says Paul S. Hirsch, author of *Pulp Empire*. The Man of Steel wasn’t just battling mobsters—he was confronting abusive orphanage heads, dishonest businessmen, and corrupt politicians. Instead of flashy supervillains, his enemies were the very real exploiters of working-class Americans.

These stories were written by two young Jewish men growing up during the Great Depression. With personal experiences of poverty and discrimination, Siegel and Shuster used Superman as a voice for the marginalized. “We had the feeling that we were right there at the bottom and we could empathise with people,” Siegel once said. Superman was envisioned not as a symbol of the establishment, but as a champion of the oppressed.

Their background wasn’t unique. Many early comic book creators were from marginalized communities who were excluded from mainstream professions. “The comic-book industry was founded largely by people barred from work in more legitimate fields,” Hirsch explains. These creators brought their outsider perspectives into the stories, shaping characters with strong political and social messages.

Superman stood out even among his peers. He once destroyed slum housing to force authorities to improve living conditions. In another issue, he battled a corrupt used car salesman and factory owner responsible for unsafe vehicles. He even went after city officials who failed to enforce traffic laws. These early tales were less about alien invasions and more about confronting real-world injustice head-on.

But this radical streak didn’t last. Over time, Superman’s focus shifted from battling greedy landlords to fighting mad scientists and space monsters. According to Waid, “his days of social crusading were becoming a thing of the past.” The reasons were both commercial and political.

As Superman’s popularity skyrocketed, DC’s leadership became cautious. The character was too valuable to risk controversy. “They don’t want to jeopardise it,” says Hirsch. Merchandise was booming—Superman’s face appeared on everything from lunchboxes to pajamas—and that wasn’t compatible with revolutionary rhetoric.

World War II also played a role in taming Superman. Creators in the industry, many of whom were immigrants or minorities, wanted to be seen as patriotic. Hirsch notes that aligning with American values was not only socially important but also necessary to continue publishing during wartime restrictions.

Siegel and Shuster’s own roles diminished as well. Shuster’s eyesight declined, and Siegel was drafted into the military. Worse still, they had sold the rights to Superman for just $130. In 1947, they lost a legal battle to regain control, making the irony even sharper—these champions of the downtrodden were themselves exploited by the system they helped to build.

By the 1950s, Superman had become a symbol of conformity. During the anti-comic hysteria of the McCarthy era, publishers adopted the Comics Code Authority to avoid censorship. Under this regime, Superman became more of a wholesome authority figure, fighting aliens instead of crooked businessmen.

Still, the character continued to evolve. At times, he reverted to his radical edge, acting as a force for justice beyond legal limits. At others, he became the straight-laced “big blue Boy Scout” mocked by grittier heroes.

What kind of Superman will the new film present? That remains to be seen. But those looking to the skies today might just catch a glimpse of the original version—a rebellious hero who fought for the underdog and took the law into his own hands. It’s a bird! It’s a plane! It’s Super-Anarchist!

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