I never got the sense that Byrne's Krypton was yanked from the movies. He'd always said that legal issues with Brando's estate prevented him from using that version of Krypton, and even with the white crystal motif the movie Krypton was still a world of emotion and humanity. (The ruling council was a bunch of pricks, though, but that's tradition.) Bryne's Krypton was closer to Vulcan by way of George Orwell (and Orwell's often been used to describe the kind of Krypton Byrne fashioned), which is a much colder, lifeless place than what the movies depicted. I don't care for that take because it not only runs counter to Siegel and Shuster's vision of Krypton, but because Krypton works best when it's a world you feel grief for when it blows up. You have to feel that something was tragically lost, and I find that the non-Byrne versions of Krypton all fit this bill.
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