Neither do I, but that was his look from the beginning. Bodybuilders were one of Joe Shuster’s less notorious kinks (search Joe Shuster Nights of Horror)
Which, again, is not a problem with Superman as a character, it’s a problem with that kind of story. If you only do stories about Batman punching people, it gets old. If you only do stories about Spider-Man punching people, it gets old. If you only do stories about James Bond punching people, it gets old.
I’m not arguing against the idea that superhero stories work better when you see the protagonist dealing with non-superhero stuff, I’m arguing against the idea that Superman is a particularly difficult character to write well. Pointing out that it’s hard to write a good Superman story if you ignore the human part of the character isn’t responsive to that, because it’s not just true of all other superheroes, its literally a fundamental aspect of narrative.
The problem then is that Superman’s schtick is that he’s stronger than everyone. You lose that when you introduce stronger enemies.
I don’t really see that as a problem.
That is a fair and not at all unreasonable opinion. 
The aforementioned Dr Strange, but also the resolution of Spiderman: No Way Home involves curing the villains (and self-erasure), not knocking a big bad out.
You actually could write a Superman story that requires intellect to solve rather than muscle or superpowers. Not because Superman couldn’t overpower the adversary but because he shouldn’t - someone too weak/fragile/whatever for that approach but still a problem.
Given there’s 90 years of Superman stories there are probably one or two in the mix already, just lost to time.
But mostly it involves punching or eye lasers or whatever. Which is fine, I like to see a mix of solutions and the punching stuff is a sort of escapist way of fixing things which is part of the fun. It just shouldn’t be the only fun or it gets boring.
Superman isn’t just muscle. He’s actually supposed to be super-smart, too. That’s why he’s often portrayed as a Pulitizer Prize winning reporter, an accomplishment that has nothing to do with being bullet proof or being able to fly.
Well, apart from him reporting this or that story about the bulletproof guy who can fly…
In Thor Ragnarok, the villain was defeated by the Hero accepting his powers and then being willing to sacrifice his city in order to save its inhabitants.
In Winter Soldier, the hero defeated the villain by refusing to give up on him, his friend.
In Guardians of the Galaxy, the villain was defeated through the power of dance and friendship.
In Avengers Endgame, the hero sacrificed himself to kill the villain.
All of these movies’ climaxes involved a lot of punching, that’s true, but in each case the story was resolved not by the heroes were the best fighters, but by making the right (smart, moral, brave) decision.
I honestly never liked super-smart Superman. I grew up reading the (admittedly pretty bad) 70s Superman comics I got secondhand and the number of powers and abilities he could just pull out of his ass got ridiculous–many of them directly related to his super-intellect.
I think the Byrne reboot in the 80s brought him down to “smart human” levels? I’ll be honest–I don’t think I’ve read a Superman comic since he died 30ish years ago. (sorry, spoilers)
Although mostly it’s Lois who does the Superman stories, not Clark.
But man, you wouldn’t believe his typing speed.
I think it’s funny to say that it’s hard to write for a character that is probably one of the most famous on the planet and has continuously been the subject of stories in multiple media for almost a century.
To be fair, Byrne made everyone look like freaks. In context, he was just a normal guy.
At least two of them (Dr. Strange and Thor: Ragnarok) involved the heroes resolving the problem by losing a big violent fight. And in Guardians of the Galaxy, they literally won through the Power of Friendship, and that after the attempt at winning through a dance-off didn’t work. And Black Panther has a big fight at the climax, but it’s not what resolves the problem: That comes when T’Challa realizes that the bad guy has a point, and implements (a sane version of) his agenda. And speaking of Black Panther, he’s also the one who made peace between the factions at the end of Captain America: Civil War, where the big punch-up was the problem that needed to be resolved.
The dance-off was just a distraction though (as Star-Lord pointed out).
I thought it was Lois Lane who won the Pulitzer Prize.
They’ve both got one.
But none for Jimmy Olsen? Whatta pisser.
He has a vicarious one as Superman’s Pal.