Honestly, if you weren’t around in 1986, it’s hard to describe the sheer earthquake that was John Byrne Action Comics. Imagine taking the most famous fictional character on Earth and just... deleting his history. DC Comics actually did it. They brought Byrne over from Marvel—where he’d already become a god for his work on X-Men and Fantastic Four—and gave him a mandate to fix a Superman that many felt had become too powerful, too weird, and frankly, too boring.
He didn't just tweak things. He nuked them.
The result was a run on Action Comics that turned the title into a high-octane team-up book, unlike anything the series had seen in its fifty-year history. It was a wild ride that lasted from issue #584 to #600. And while some purists still haven't forgiven him for what he did to the Fortress of Solitude or the Legion of Super-Heroes, you can't deny that Byrne’s fingerprints are still all over every Superman movie and TV show we watch today.
The Day Superman Changed Forever
Before Byrne took over, Superman was essentially a god who could juggle planets. He had a super-dog, a super-cat, and a city in a bottle. It was whimsical, sure, but the stakes were non-existent. Byrne’s first move was the Man of Steel miniseries, but the real work of integrating this "new" Clark Kent into the DC Universe happened in the pages of Action Comics.
Starting with Action Comics #584, the book shifted format. It wasn't just Superman fighting a giant robot every month. It became a revolving door for the rest of the DC roster.
The very first issue of his run features the New Teen Titans. But it wasn't a friendly "let's grab a burger" team-up. It starts with Superman going absolutely berserk in Metropolis, literally dismembering Cyborg and bodyslamming him off a skyscraper.
Wait. Superman did what?
Turns out, it was a classic body-swap plot with a guy named David Gundersen, but the visual of Byrne’s Superman—heavier, more muscular, looking genuinely dangerous—shook readers. This wasn't your grandfather's Superman. He looked like he could actually get hurt. And he did.
Making Lex Luthor a Suit Instead of a Scientist
One of the biggest wins of the John Byrne Action Comics era was how he handled the villains. You've probably heard the story of how Marv Wolfman suggested making Lex Luthor a billionaire businessman instead of a mad scientist in a purple jumpsuit. Byrne ran with that.
In Action Comics, we saw a Luthor who was untouchable. He wasn't hiding in a cave; he was sitting in a penthouse. Superman couldn't just punch him because Lex hadn't "technically" broken the law in a way that would stick. This created a psychological tension that the character desperately needed.
Byrne also gave us a much grittier version of the New Gods. Issues #592 and #593 are still some of the most controversial comics ever printed by DC. In this story, a sleazy villain from Apokolips named (appropriately) Sleez uses mind control on Big Barda and Superman, trying to force them to... well, let’s just say make a "film" together. It’s dark. It’s uncomfortable. It’s definitely not the Silver Age anymore.
Is it a "good" story? That’s debated to this day. But it showed that Byrne was willing to push Superman into corners he’d never been in before.
The Team-Up Era (Issues #584–#600)
Byrne treated Action Comics like a fast-paced laboratory. Since he was also writing the main Superman title, he used Action to see how his new version of Clark interacted with the weirdos of the DC Universe.
- Issue #585: Superman meets The Phantom Stranger. It’s spooky, atmospheric, and leans into the supernatural—a side of the DCU Clark usually avoids.
- Issue #587: A crossover with The Demon (Etrigan). Byrne’s art on Etrigan is legendary.
- Issue #591: A heartbreaking story involving a "pocket universe" Superboy. This was Byrne’s attempt to fix the continuity mess caused by removing Superboy from Superman’s past, which had broken the origin of the Legion of Super-Heroes.
- Issue #598: Checkmate and the Suicide Squad show up.
The variety was staggering. One month you’re in space, the next you’re dealing with magic, and the next you’re in a political thriller. Byrne was drawing and writing almost all of this, maintaining a level of quality and "pop" in the art that remains some of the best work of his career. His Superman had a specific weight to him. When he flew, you felt the sonic boom.
Why People Still Argue About This Run
Nuance matters here. Byrne’s run wasn't perfect. He had some... let’s call them "strong opinions" about the characters.
He famously hated the idea of Superman being an "alien." He wanted Clark Kent to be the real person and Superman to be the mask. He even changed the "S" shield so it wasn't a Kryptonian symbol at all—it was just something Ma Kent designed. To Byrne, Clark was a Kansas boy who happened to have powers.
This led to some friction. He stripped away the "Super-intellect." He made Superman significantly weaker; he could no longer fly through suns or travel through time by flapping his arms really fast.
Critics argue he "Marvel-ized" Superman, bringing the character down to a human level of angst and limitation. Fans argue that this is exactly what saved the character from irrelevance. Honestly? Both are probably right. Without Byrne, we don't get the Death of Superman in the 90s or the Smallville TV show. He made the character relatable again.
The Action Comics #600 Milestone
Byrne’s tenure reached a fever pitch with the oversized Action Comics #600. This was a massive celebration, featuring a lead story where Superman and Wonder Woman finally address the romantic tension between them.
The story, co-plotted with George Pérez, involves Darkseid (of course) and a trip to Olympus. It’s a gorgeous piece of work, but the ending is the most "Byrne" thing ever. After a cosmic battle and a brief kiss, they both basically realize... they're better off as friends. It was a subversion of the "super-couple" trope that fans were screaming for, and it felt remarkably adult for a 1980s comic.
Shortly after this, the title shifted into Action Comics Weekly, an anthology format, and Byrne moved on. His era was over, but the foundations were set.
What You Should Do Next
If you want to understand why Superman is the way he is in modern media, you can't skip this era. It’s the bridge between the goofy 1950s and the modern "grounded" hero.
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- Track down the "Superman: The Man of Steel" Vol. 1–4 trade paperbacks. These collect the bulk of Byrne’s Action Comics run alongside his main Superman title. Seeing the stories in the order they were released is the only way to get the full "reboot" experience.
- Compare the art. Look at how Byrne draws Lois Lane compared to the artists before him. He gave her a professional, sharp wardrobe and a fiery personality that directly influenced Dana Delany’s portrayal in Superman: The Animated Series.
- Check out Action Comics #584. It’s the perfect "vibe check" for the era. If you like the idea of Superman accidentally beating the hell out of the Teen Titans because of a mind-swap, you’re going to love the rest of the run.
Byrne’s work remains the most significant renovation of a pop-culture icon in history. It wasn't just a change in writer; it was a change in philosophy. Whether you love the "Kansas-first" Clark or miss the "Super-scientist" of the 60s, you have to respect the guts it took to tear down the cape and rebuild it from the stitching up.