Post-Crisis Crisis, Part 2

Continued from Part I.

So, why two Legions? Basically, to preserve the contention that Superman has met them both. Although the Legion was subject to major changes in the wake of Crisis, it still tried to maintain a coherent history for some 8-9 years, until it was completely rebooted in the wake of Zero Hour (1994). Because the Superman books marched on, Superman remembered meeting both versions, and even confused them momentarily. I'd like to think there is a bubble of time for about 60 years, starting near the end of the 30th Century, where more alternate futures are possible.

Onward and upward:

Issue #5. We discover that the Monitor planned for his death to release energies that would activate his devices and drag everything into a "pocket universe." However, the devices have made Earth a “patchwork” of many different time periods, with areas destroyed by anti-matter being “patched” with their unaffected counterparts from different times. (For example, if Hawaii of 1999 was destroyed, Hawaii of 2032 has taken its place.) Thus, time is jumbled and compressed, with different ages intermixing. The different ages also include alternate timelines, but there aren't too many "Elseworlds." Alex Luthor, Harbinger, and Pariah gather all the heroes and villains on the Monitor's satellite and explain what’s what, then return them to the surface to protect the patchwork areas. A small group is left on the satellite when the transformed Red Tornado attacks.

Issue #6. The heroes escape the Monitor's satellite and disable Red Tornado. (He's been upgraded with more storm-related powers so he's more of a threat to a space satellite.) The Anti-Monitor uses Psycho-Pirate to create fear and panic on Earth. There are superheroes in the patches, and under Psycho-Pirate's influence, our heroes fight them. Out of one patch comes Wonder Woman, Diana of Themyscira, who recognizes Superman as one of her dearest colleagues. Superman is sore impressed that a veteran like her could claim to have learned so much from him. Harbinger expends all of her power to wrap the Earth in a protective field, disrupting Psycho-Pirate's influence. This forces the Anti-Monitor to redirect his energies toward Earth, and that breaks his hold on the Guardians.

Issue #7. With most of the Earth under control, Harbinger tells a select group of heroes the history of the universe. Long ago, Krona, the renegade Oan, tried to discover the secrets of the dawn of time. He ended up unleashing evil. Also in the distant past, the Monitor and Anti-Monitor were born on the moons of Oa and Qward, respectively, and fought each other for most of time, until one battle left them incapacitated. Millions of years later, the scientist who would become Pariah destroyed his world trying to observe Krona. Pariah's failed experiment apparently awakened both Monitor and Anti-Monitor. In other words, lots of exposition, much of it the same as before.

Basically, the difference this time is that because the anti-matter wave shows up in various places throughout the timestream, its effects in those areas have created an infinite number of alternate timelines. [Here I was inspired by Gog’s plan in The Kingdom to work his way back through time, killing Superman on a different day each time, and creating alternate timelines as a result.]

However, the antimatter wave is just gravy for the Anti-Monitor. He wants to break down the vibrational walls that keep time moving on a single track, so that the past “bleeds into” the future. Once everything is reduced to a single point in time, it will be blasted with an anti-matter cannon, thus ensuring that the anti-matter universe is the only one which has survived. (The Anti-Monitor destroyed his universe’s Earth with positive matter -- naturally -- because he knew the Crime Syndicate would give him trouble.) The tuning forks were designed to keep time aligned, but with the Monitor’s death the process was begun too soon. [Except for the bit about the Crime Syndicate, this paragraph’s explanation came pretty much from JLA: Incarnations #5.]

The Anti-Monitor’s machines are still forcing different eras together, so Alex Luthor and Pariah lead another group of 15 heroes -- M’Onel, Jade, GLs John Stewart and Alan Scott, Lady Quark, Doctor Light II, Martian Manhunter, Captain Marvel, Superman, both Wonder Women, the Ray, Orion, Lightray, and Firestorm -- to the Anti-Monitor's fortress. (Why only 15? This is just the first wave.) There, the Anti-Monitor almost kills Superman, and Diana dies rescuing him. [I originally had a thought to make this the Linda Danvers Supergirl, seeking "redemption" and closure as per the final events of her series, but this seems to work out better.] With her final breaths, Diana tells "Clark" she dies happy, knowing she's helped save the future for what he becomes. "What I become?" Superman asks. "You live up to your promise," Diana whispers.

A severely wounded Anti-Monitor escapes in a starship containing the anti-matter cannon. Superman and several other heroes attend Diana's funeral on Themyscira.

Issue #8. We peek in on Darkseid and learn he’s “cloaked” Apokolips from the Anti-Monitor. New Genesis has been destroyed, so conferences are held with Orion, Lightray, Mr. Miracle, and Barda, to see about overtures to Darkseid. On Oa, the Guardians also debate their next course of action, and there is a clear difference of opinion. The Red Tornado's “autopsy” ends up destroying what remains of the JLA Satellite. Guy Gardner finally gets the last GL ring he will ever need or want. On Qward, the Anti-Monitor has built himself a new body. Flash II dies destroying the anti-matter cannon.

Issue #9. Guy fights John Stewart and the Shark, with Hal Jordan in the middle, before they all take off for space and the anti-matter universe. Back in our universe, villains gather on Kobra’s satellite “Ark” (refurbished with secret thanks to Luthor -- the two also worked together in JLA: Incarnations #3) and with simultaneous well-placed strikes, take control of New York, Moscow, and New Delhi. Alex Luthor, Harbinger, and Pariah are addressing the UN when Kobra interrupts holographically, demanding the heroes’ surrender. (Or “Ssssurrender,” I guess.) Kid Flash is called out of retirement to help Flash I break through the walls which the villains have erected around the cities. Begun, the Villain War has. Psimon takes control of Kobra's Ark.

Issue #10. The Villain War rages across Earth. Kobra kills Psimon. The Spectre ends the war by announcing that the Anti-Monitor is going to the dawn of time, and must be stopped before he changes all existence. (I suppose Harbinger’s powers and the Monitor’s devices are presently keeping Earth “out of time” and temporarily safe from the A-M’s plans.)

In the anti-matter universe, an army of alien baddies led by Guy Gardner and Hal Jordan prepares to square off against an army of Green Lanterns for control of the moon of Qward where the Anti-Monitor was born. (One side thinks it's the source of his power; the other thinks it's keeping his full power in check.)

Earth’s heroes travel back to the dawn of time. The villains are dispatched to Oa, 10 billion years ago, to stop Krona from creating the anti-matter universe. The villains fail, and the heroes are nearly beaten by the Anti-Monitor, when the Spectre, backed by the might of the Earth's sorcerers, manages to force the Anti-Monitor to a draw. More and more power is poured into the battle, and everything turns white....

Issue #11. In the anti-matter universe, there’s a flash of white nothingness, and then everything’s back to normal. Taking the fallen Tomar Re’s power ring, Hal Jordan becomes a Green Lantern again. On Earth, it’s the next morning, and no one remembers the Crisis. The “patches” are gone, and so are everybody from the alternate timelines. (Straightening out the timeline eliminated the anti-matter waves and therefore the alternate timelines created thereby.) There is a debriefing at Titans’ Tower involving many heroes, just to confirm that there are no more time anomalies. Still, no one has heard from Barry Allen. It looks like the crisis is over; but then, the skies turn red, and then black, as the Anti-Monitor draws Earth into his universe.

Issue #12. On Earth, millions of shadow demons begin killing. The assembled sorcerers weave a spell to remove them. Meanwhile, several of the mightiest heroes (Big Barda, Captain Marvel, Dr. Light II, Firehawk, Firestorm, Lightray, J’Onn J’Onzz, Orion, Power Girl, Superman, Lady Quark), follow Pariah to Qward to destroy the Anti-Monitor. Kid Flash tags along and finds Barry's empty uniform. A team led by Batman and Mr. Miracle (Blue Beetle, Black Canary II, Katana, Atom II, Green Arrow, Adam Strange, Animal-Man) takes a Mother-Box-enhanced Bug to Apokolips and convinces Darkseid the Anti-Monitor is a threat to him too. The Anti-Monitor is softened up by many attacks -- the "poisoned" shadow demons, Dr. Light II, Alex Luthor, and Darkseid’s Omega Force -- and finished off by Superman. (This doesn't kill him outright, but it still flings him into the star. Semantics, maybe, but the first and last people Superman kills should be the pocket-universe Kryptonians.) The star explodes. Alex Luthor opens a portal big enough for the Earth, which returns to its proper universe. Closing the portal expends the last of Alex's energy, and he dissolves into nothingness.

In a pre-dawn epilogue atop the Daily Planet, Superman and Batman discuss the events of the past week or so. Superman asks why Batman wanted this meeting. Batman explains that most people think he's a loner, but he's worked with a lot of heroes in the past 7-8 years -- the Justice League, the Outsiders, a few sets of Teen Titans -- so he knows people in "our profession." He's never seen anyone unify or inspire like he's seen Superman do in this crisis. Supes says he didn't do anything. Batman says he didn't really have to -- since Superman caught that space shuttle, he's had an uncanny knack for being in the right place at the right time and doing the right thing.

Batman continues: "This world's seen many people with incredible powers, but until recently it had never seen anything like you. You could have been a conqueror. You could have been a god -- but you've chosen to be a man. We two were on the front lines of the biggest threat to our existence this universe has ever faced -- and all those men and women fighting all those battles, from the youngest Teen Titan to the most experienced Green Lantern, only needed to catch a glimpse of you to get their second winds. I can't explain it, but there it is. Being an icon is an awesome responsibility, Superman, and it's been thrust upon you. Even with all we've been through, big things are coming, and people are going to be looking to you for leadership. I called this meeting to tell you how much you've come to mean to the world -- and also to let you know I'll be there to stop you if you screw it up."

Batman turns to leave and Superman calls out, "Isn't this sort of emotional display out of character for you?" Batman looks back over his shoulder: "I lost a bet." He drops off the roof and swings away. As the sun rises, Clark Kent puts on his glasses and heads off to work.

Some time later, Barry Allen’s funeral is attended by many heroes, including Superman, Batman, GL Hal Jordan, Wally West, J’Onn J’Onzz, Aquaman, and Black Canary II -- founding and future members of the JLA. Psycho-Pirate returns to the mental institution, his mind spinning with thoughts of the alternate timelines and the patchwork Earth.

What do you think?

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A Post-Crisis Crisis

This may be about as useful as trying to rework the Civil War without Georgia or Maryland, but here goes.

With Matt over at Howling Curmudgeons offering his long-promised review and commentary on Crisis on Infinite Earths, I thought I'd share the "Post-Crisis Crisis" I tried to reason out last fall. (This previously appeared on the TrekBBS's SF&F message board, before I discovered the joys of the blogosphere.) I have also heard rumblings about Geoff Johns and Phil Jiminez revisiting Crisis for its 20th anniversary next year, but that may just be my overactive imagination.

Why in the world (not the infinite worlds anymore, sadly) would I do this? Curiosity, basically. The "Crisis" (I can't even think of a prepositional phrase for it, since "Crisis Across Time" sounds too much like Zero Hour) is still an established event in DC history. There was a Monitor, an Anti-Monitor, a Pariah, and a Harbinger. Barry Allen and Prince Gavyn died as part of it. But how important was it, really?

Matt says it can't be as big without the infinite Earths, and I agree. It also can't be as big without those multitudes of characters the "serious" DC Universe was supposed to be rid of. However, it can still be a watershed moment. In the revised history, the heroes who founded the Justice League were becoming legends after only about 7-8 years in action. This is clearly different from the old Earth-1 timeline, in which even the original Teen Titans had over a decade of experience by the time they fought the Anti-Monitor's forces. The familiar relationship between Superman and Batman also had yet to form in the post-Crisis world. Finally, significant heroes like Wonder Woman (Diana) and Captain Atom were still in the future. Thus, where Crisis on Infinite Earths showed the Multiverse in "winter," the post-Crisis Crisis could show the new timeline getting ready for "spring."

The JLA: Incarnations miniseries (by John Ostrander and Val Semeiks) was very helpful, especially #5, the self-styled "Crisis crossover." I have also incorporated the events of Green Lantern #s 194-98 (by Steve Englehart and Joe Staton), detailing Hal Jordan’s and Guy Gardner’s return to the Green Lantern Corps. (Because those GL issues also state -- apparently contradictorily -- that John Stewart was on Supergirl’s final mission in Crisis #7, I have retconned him into that story.) Finally, my treasured Amazing Heroes all-Crisis issue (#91, March 15, 1986) was very helpful both in pointing out story issues and establishing an overall timeline for July and August, 1985. It's still very much a work in progress, because I'm discovering new issues constantly.

Fanzing tried this twice. The first attempt uses other DC worlds and the Kingdom Come characters, and the second uses alternate timelines (thanks to Hypertime, I guess). My feelings won’t be hurt if you like one of these better.

Issue #1. Central/Keystone Metroplex, 2956. Barry Allen, the second Flash, tries to defend the future from antimatter. (He's retired in the 30th Century following his acquittal on murder charges.) Figuring he needs the help of the JLA, he travels back in time to 1999 (or whatever year is “5 years ago,” DC time). Pariah, who's been silently watching Flash, disappears himself.

Meanwhile, in the anti-matter universe, its Earth is devoured by a similar white wall. In a mountainside retreat (reminiscent of the Earth-2 "Fortress of Solitude"), scientist Lex Luthor prepares his infant super-clone for a trip across the anti-matter barrier. (Why just a clone? Well, it was something he was working on already, and when the white wall showed up, he didn't have enough material to build a full-sized rocket.) The clone’s “mother” is the evil Amazon, Superwoman, who unwillingly contributed some DNA. (It was all very clinical; after all, Luthor doesn't want to stoop to the CSA's level.) Superwoman, now Luthor's prisoner, frees herself and attacks Luthor, but he manages to fire off the rocket. As it shoots into space, Pariah helplessly watches this world die too.

He's not the only one. A golden spaceship snags the rocket with a tractor beam.

Our Earth, 1999. Over a dozen super-beings have vanished almost simultaneously, with some witnesses reporting a strange blonde woman present. It’s a big puzzle, since the mystery woman is in many places at once. Wanting to consult a detective, and not having a good relationship with Batman since he left the JLA, Superman visits Titans’ Tower for a confab with Nightwing. Turns out Batman is there anyway. While capturing the Joker, he saw the dying Flash -- and together with the disappearances, thinks something’s afoot. (It's significant that Batman has come to Nightwing -- the Flash's apparent "death" has shaken him unexpectedly and he wants to make amends if this is really "the end.") Pariah appears here, this time mentioning to the three men that “your universe will die” before being pulled away.

Of course, the missing heroes and villains are on the Monitor’s satellite. Through his aide Harbinger, who can split into multiple duplicates, he’s summoned 15 super-beings from across time and space -- Blue Beetle II, Dawnstar of the pre-Zero Hour Legion, Solovar, Psimon, Geo-Force, Cyborg, Psycho-Pirate II, M’Onel of the post-ZH Legion, Obsidian, Firebrand II, Green Lantern (John Stewart), Arion, Firestorm, Killer Frost, and Dr. Polaris. Harbinger's inner monologue tells us one of her “selves” has been turned evil. Shadow demons attack, and we see that the various powers have different degrees of success against them -- almost as if someone were running an experiment or testing theories. The battle ends when the Monitor drives the demons away and tells the super-folk their world is about to die.

Issue #2. The 15 are sent to defend and activate “tuning forks” the Monitor has planted in several Earth eras, including

-- ancient Atlantis (Arion, Obsidian, Psycho-Pirate),
-- the Old West (Firebrand, Green Lantern, Cyborg, Psimon),
-- WWII Markovia (Blue Beetle, Geo-Force, Dr. Polaris), and
-- the “Julie Schwartz DC Future” of Tommy Tomorrow, Space Ranger, Space Cabbie, etc. (Firestorm, Killer Frost, Solovar).

There is an additional fork in the 30th Century, around 2957 or so, but neither version of the Legion can quite claim it as their own. Teams are pretty much as they were before, except Dawnstar and M'Onel lead their respective Legions to 2957.

On Oa, the Guardians of the Universe are incapacitated by the Anti-Monitor's attack. The heroes in Atlantis, the Old West, and the “Schwartz future” defend their forks from shadow demons. The anti-matter wave kills Starman (Prince Gavyn). The Monitor studies the Luthor child, who ages rapidly. Soon he identifies himself as Alexander and begins to exhibit strange powers and properties. In Atlantis, Psycho-Pirate II is teleported away by the Anti-Monitor. The anti-matter wave appears in the skies over 1999 Earth.

Issue #3. The heroes continue to defend the Monitor's forks, but not without some losses. Solovar is wounded and returns to Gorilla City. We see that the original 15 heroes have learned some lessons from their early skirmishes -- Blue Beetle has altered the Bug's weapons; Geo-Force and Dr. Polaris learn to combine their powers; Solovar organizes Gorilla City's forces to defend Africa; etc.

As Superman, Batman, the Teen Titans, and the Outsiders investigate the just-appeared New York City tuning fork, Flash II materializes in their midst. He can only get out a few words before being snapped up by the Anti-Monitor, but Superman and Batman are convinced it's really him. Earth’s weather and plate tectonics soon go crazy from the anti-matter wave’s effects, and Superman flies off. Amidst the tension, much nervous chatter among the remaining heroes concerns the effect Superman has on crowds. Nightwing tells Batman, "Even you see it! I bet when we get through this, you're Superman's biggest fan." Batman replies, "First let's get through this."

Flying over Europe, Superman runs into the Justice Society. There is some casual banter between Green Lantern I and Flash I about how they always like visiting Europe, because they never got to see it much when they were young. Superman, helping them, is in awe of their calm in the face of such calamity, and tells them he hopes he learns that kind of control someday. Flash tells Supes, "You're there already, Superman. We've only been out of limbo for a few years, but the world's already forgotten us. And the world never looked up to us the way it looks up to you." GL continues: "Fifty years ago, we were America's heroes. Now you're a hero for the whole planet. We couldn't be prouder." Superman is stunned -- these men were Pa Kent's heroes, so it really means a lot -- and says he's honored and he'll try to do his best. Telescopic vision spots a tidal wave menacing Greece, so Superman flies off.

The Monitor creates Doctor Light II while the Anti-Monitor abducts Red Tornado II. All of Harbinger turns evil and blasts the Monitor.

Issue #4. Pariah saves Lady Quark from her homeworld's destruction. Dr. Light II appears at the NYC tuning fork. Harbinger's attack on the Monitor throws him into a control panel which futzes with the forks and opens up time portals throughout the "forked" eras. Making matters worse, anti-matter tendrils are now destroying sections of Earth directly. In all eras, the shadow demons merge into giant monsters and attempt to destroy the forks. The heroes stop them, but it's more of a stalemate than a victory. Those in later time-periods take comfort in the fact that their counterparts in the past must have succeeded, even as they keep wary eyes for any signs the timestream has changed. In New York, while the (Detroit) Justice League fights Fire-Eye, an intelligent dinosaur, Gypsy's future self tells present-day Gypsy to have Vibe activate the NYC tuning fork. We see that the other forks are similarly activated, not necessarily by vibrational power. Earth is apparently destroyed by anti-matter.

Continued...

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New Comics 9/29/04

Pretty good week this week.

Green Lantern #181 (of 181): Written by Ron Marz, pencilled by Luke Ross, inked by Rodney Ramos. All things considered, it could have been worse. Marz gives his creation a decent way to exit center stage. There's a little bit of suspense involving whether Kyle would actually give up the power ring; Major Force reveals himself to be unkillable; and Kyle gets some good news about his mother.

Batman #632: "War Games" Act 2, Part 8. Written by Bill Willingham, pencilled by Kinsun, inked by Aaron Sowd. Batman fights Zeiss as Black Mask continues to plot. Turns out Orpheus had some weird super-spraying machine thing ready to go. The macro-plot has gotten more intriguing, but the execution in this issue is a bit flat. Kinsun looks like Paul Gulacy Lite, and Willingham actually has Batman tell Oracle to "grow up." Nice. At least he treats Alfred well.

Superman/Batman #12: Written by Jeph Loeb, pencilled by Michael Turner, inked by Peter Steigerwald. The penultimate part of the Supergirl story wraps things up on Apokolips, but ach! that dueling narration! Painful to read. As for the art, in the movie Kara will apparently be played by Calista Flockhart. The super-cousins fight each other, Batman stares down Darkseid, there are teary farewells on Themyscira and in Kansas, and while this is the book of Big Widescreen Events, I can't decide if they're presented with too much fanfare or just too matter-of-factly. Needless to say, the narration doesn't help.

JLA #106: Written by Chuck Austen, drawn by Ron Garney. Thank goodness this issue didn't involve Batman dealing with his inner failures. He actually gets some funny bits here, mostly interacting with the other children of the dad with super-powers who got killed 'way back in #101. To his credit, Austen ties the other issues together with this one, and the ending isn't entirely happy -- but I'm still excited about Kurt Busiek bringing the Crime Syndicate back next month.

Superman #209: Written by Brian Azzarello, pencilled by Jim Lee, inked by Scott Williams. Superman fights four elemental creatures, apparently sent by Aquaman (...huh?), including one which forms itself out of Mount Rushmore and makes me nostalgic for that old Justice League of America with "The Fiend With Five Faces!" (Either that or the "Dexter's Laboratory" where Dexter uses a George Washington giant robot to stop an Abe Lincoln giant robot. But I digress.) It's a well-done issue, and Superman defeats the giant elementals in a clever way. Next up, Wonder Woman.

Wonder Woman #208: Written by Greg Rucka, pencilled by Drew Johnson, inked by Ray Snyder.

(No, I meant next month in Superman.... Oh, forget it.)

An all-around winner of an issue, as Diana, Artemis, and Phillipus attend a state dinner at the White House. (FYI, the President is now somebody named Horne.) Veronica Cale arranges for Medousa and her pop-culture-loving assistants to be there too. Rucka gives us an excellent blend of politics, mythology, and monster-fightin', not to mention the return of an old friend. The book's been very good under his guidance; I hope this means it's going to be great.

Adam Strange #1 (of 8): Written by Andy Diggle, drawn by Pascal Ferry. So, Adam's in Gotham City collecting his things to move to Rann permanently, but then Superman shows up to tell him Rann's gone, and then he gets arrested, and then some big aliens show up to kill him, but he fights 'em off, and to be continued. I'm there for #2, all the way, baby!

DC: The New Frontier #6 (of 6): Written and drawn by Darwyn Cooke. The Best Wife Ever looked at this and said "What's that? Looks kind of '60s." I explained it was a period piece about the Justice League in the early '60s. I'm glad I didn't weep openly at the end of the issue like I wanted to, because that would have taken even longer to explain. It almost goes without saying that I loved this series. Cooke's art is cartoony, but it reminds us that superhero comics are aimed at the "kid inside." He also uses patriotic speeches a lot more effectively than Jeph Loeb. My only quibble is that there wasn't enough Batman in this one.

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Bat Attitude

Dave has offered a few good suggestions on scaling back the Batman line in order to eliminate mega-crossovers like the current "War Games." However, the more I think about it, the more it seems like the mega-crossovers are just a symptom. Larger changes are needed to the Bat-line, starting with the approach to the character himself.

For almost the past 20 years, the conventional wisdom has held that Batman was the "real person" and Bruce Wayne the "mask." In other words, the foppish "Bruce Wayne" persona was a creation of Batman, much like the nerdy "Clark Kent" attempted to cast suspicion away from him being Superman.

However, I'm not sure that this holds up under scrutiny. We are told that Bruce Wayne's childhood trauma forever altered his personality, causing him to become grim and driven, and compelling him to embark on a lifelong crusade to fight crime. This new direction later found its ultimate expression as The Batman.

Still, it appears indisputable that Bruce himself created the Batman. Bruce is consistently portrayed as merely inspired by the bats, with their influence going no further. (Certainly he's not "summoned" by them or otherwise bound to them in any quasi-mystical way.) Simply put, Bruce wants his adventuring persona to be scary, and bats are scary; therefore, Bruce becomes a bat-man.

"The Batman" therefore allows Bruce to express his revenge on the mysterious forces which took his parents. It assumes the worst about the criminal element ("a superstitious, cowardly lot") and looks to do to crooks what the crooks did to him as a child. Such an attitude is very much a kid's answer to a problem. It is not a solution -- and Bruce should realize that he can do an equal amount of good through the Wayne companies. Accordingly, the Batman persona must only be one tool in Bruce's crimefighting arsenal.

Speaking of tools, it's never really explored in the comics, but the Bat-Signal and the unique, stylized looks of the Bat-equipment all form a sort of "brand identification." Taken as a whole, this "brand" reinforces the sense that Batman is a police force unto himself, equally important to Gotham society. It is, in effect, another element of Batman's psychological warfare. Since Bruce is a businessman, there's a darkly funny juxtaposition -- he basically "markets" the Batman to the Gotham underworld, so that it cannot help but be aware of his presence.

To me, such calculation argues against the vengeful Batman being in control of Bruce. The chronicles instead point to Bruce having used his talents, skills, and education to make "Batman" a scary, separate persona. This is not to say that Bruce can't also adopt the public guise of a foppish, shallow playboy. Obviously, to the extent that Playboy Bruce is a cover for Batman, Batman is "more real." Nevertheless, because "Batman" was conceived after Bruce vowed to fight evil, it is hard to see how "Batman" was always there. Indeed, Batman is almost an elaborate joke, or prank, which Bruce plays on criminals. ("Playboy Bruce" is a similar act for the benefit of daylight society.) Assuming that Bruce is in on this particular joke, he would have to be pretty far gone to let the joke consume him.

Mark Waid examined Bruce/Batman's duality in a JLA arc, "Divided We Fall," where the Leaguers were literally split into their "civilian" and heroic selves. When confronted with violence, the separated Bruce Wayne boiled with rage, but had no way to channel it or defend himself. The separated Batman was practically an automaton, possessing fantastic skills but featureless and lacking any kind of drive. While Waid acknowledged that Bruce needed Batman as a sort of therapeutic outlet, he still ascribed the emotional components of Batman's crusade to Bruce. Thus, Bruce was the "real person" and Batman the fiction. If it were the other way around, as the Bat-books argue, then Batman would have held all the critical cards, and Bruce would have been an ineffectual wimp, helpless without Batman's anger.

Unfortunately, the current Bat-books have continued to present Batman as a rude, distant figure, awash in personal demons, who alienates his colleagues as much as he helps them. Ironically, this was also reinforced by a Mark Waid JLA arc -- "Tower of Babel," which preceded "Divided." In "Babel," the notion that "Batman always has a plan" led to Waid's supposition that Batman would develop protocols for disabling each of his League teammates. Batman's needs for secrecy and self-reliance naturally prohibited him from sharing even the existence of these plans with them, and the League kicked him out when they learned the truth.

"Batman Can Only Rely Upon Himself" didn't originate with "Tower of Babel." It stretches at least as far back as 1993's "Knightfall," in which the manipulative Bane ran our hero ragged to weaken him for their ultimate confrontation. In 1999's "No Man's Land," efforts to reclaim quake-ravaged Gotham began and ended with Batman (notably using a new Batgirl for "marketing"). In 2001's "Bruce Wayne: Murderer?" arc, the possibility that Bruce could have killed a lover who discovered his secret was entertained, if only briefly, because the other Bat-colleagues weren't sure how far Bruce would go to protect his other identity. The current "War Games" centers around yet another Bat-plan gone wrong. After 11 years of Batman perpetually pushing his friends and associates away, it is long past time for his attitude to change.

However, the distance between Batman and his proteges is important in at least one respect -- it allows them to maintain their own separate comics. Nightwing, Catwoman, Robin, and Batgirl can't be about the eponymous characters' relationships to Batman, or there would be no point in their existence. Still, each periodic line-spanning crossover tends to create anew the same dynamic:

-- a solo character grows and develops in his/her own book;
-- he/she is treated as a subordinate by Batman for no good reason; and
-- at the end Batman recognizes his/her value.

It's a vicious cycle -- the characters are at once dependent on the Batman imprimatur and striving to be independent of it; and periodically they interact with Batman himself but are never quite treated as equals. Again, Batman's perpetual "I need you"/"I'm better than you" attitudes contribute to this cycle. Warming up relations between Batman and his associates would justify a reduction in the number of Bat-titles and would help integrate Nightwing, Robin, Catwoman, and Batgirl more fully into Batman's adventures. Such integration would enrich the Bat-books across the board and would force creators to examine new character dynamics, instead of simply uniting the associates in their frustration with Batman.

Given the current conventional wisdom, I would expect a large number of fans to see this as a step back, dulling the fine edge which Batman has cultivated over the years. My response is that this merely acknowledges Batman's need to correct what has become a self-destructive behavior. When it comes to the small band of people you've allowed to join your inner circle, trust works a whole lot better than intimidation.

Besides, despite Batman's self-described solitary existence, he has always tended to surround himself with confidants, even in this post-Crisis, post-Dark Knight era. As described above, his impersonal attitude towards them facilitates their solo adventures (and creates bizarre, almost codependent relationships); but such an attitude is becoming increasingly unrealistic given the characters' various histories.

It would serve Batman better in the long haul for him to drop the pretense that he will be forever alone on his solitary quest, and let his associates "in on the joke." The Batman persona is at its heart nothing more than another elaborate strategy for fighting crime. It shouldn't be the Alpha and Omega of Bruce Wayne's life. His longtime friends like Alfred Pennyworth, Leslie Thompkins, Dick Grayson, and Barbara Gordon all recognize this. The sooner Bruce realizes that "Batman" is as much a fiction as "Playboy Bruce" is, the sooner he can start forming healthy relationships with his associates, and the better the Bat-books will be.

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Follow The Leaders

Just finished polishing a "Post-Crisis Crisis" essay -- which may be one of the geekiest endeavors I've ever done, and that's saying a lot -- but in the interests of space and laziness, thought I'd jump on the latest meme bandwagon:

Use the comments to ask me 5 questions, and I'll give you answers. So simple, and yet so fraught with consequences....
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Convergence Scorecard

The cold I got from the Best Wife Ever finally manifested itself fully yesterday afternoon. Left work a little early, but what with picking up new comics got home about the same time. Took a dose of sweet, sweet Nyquil and popped in the Star Wars DVDs. (The Phlox figure arrived too. It has a gut, which I thought was kind of brave. Neelix was paunchy, but his figure wasn't. I digress....)

After about 30 minutes with the DVDs, the Nyquil was coming on strong and I figured I'd better read those comics before it was too late. The "War Games" issues were mixed -- the revelation of the criminal mastermind was a surprise, but again with the torture of a female character? I set the VCR for "Lost" and took a nap.

I made myself wake up a little before 8:00 and watched "Smallvile" through the Nyquil haze. I was surprised at how much I liked Lois Lane. She and Clark had good chemistry and would make a good couple. (Speaking of Lois, time has been much kinder to Annette O'Toole than to Margot Kidder.) Overall it was a strong episode, but there were still some hokey moments. The Clark vs. Clark fight seemed ripped from Superman III, and black Kryptonite? Since I haven't watched the show in a while, maybe it's been on before, but what's it do -- break Kryptonian mind-control? Is that really something that would have developed naturally?

I picked up the first Doom Patrol paperback when Lana appeared. This subplot about her being infused with the spirit of an ancient warrior/saint doesn't look promising. Finally, the in-jokes about "give me a nerd with glasses" and "what's that? A bird? A plane?" were on the good side of cutesy.

Haven't watched "Lost" yet because I went to sleep for good after "Smallville." All in all, though, the convergence was managed pretty well.

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Geek Convergence Tonight!

Too many nerdy things happening today:

1. Those pesky Star Wars DVDs should arrive. You'd think that shipping them from the Amazon warehouse located about 2 miles from my house wouldn't require them to go through Cincinnati, but you'd be wrong.

2. The Phlox figure I also ordered (cheap!) from Amazon should also arrive. It's coming from Campbellsville, Kentucky, about an hour south of here, but it's coming straight up via UPS, so no Cincinnati stopovers. (While not that yooge [tm Television Without Pity] an event on its own, I wanted to contrast the delivery situation with the DVDs'.)

3. "Lost" premieres. I'll be taping it at the request of the Best Wife Ever, who has a late meeting. Since I got to see the last 20 minutes or so in San Diego, while it tapes I will revisit...

4. "Smallville," which also premieres tonight. When the show first aired, we didn't have a dedicated WB station, so it was on irregularly around 10:00 p.m. Friday nights. Therefore, I got in the habit of watching "Enterprise" and "West Wing," and never looked back. If "Smallville" doesn't thrill me, there's always...

5. New Comics Day, with the two Morrison/Case Doom Patrol trades as the probable highlight.

So there you go. Whoever thought leisure could get so complicated?

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Enjoy This Linky Goodness

By way of Shane, here are pictures of next summer's Fantastic Four in costume; and a really fascinating Newsarama interview with Greg Rucka about his plans for Superman.

The FF costumes look OK to me. Johnny doesn't look very blond. The suits themselves appear more inspired by the Jim Lee "Heroes Reborn" outfits than by the classic or "Ultimate" looks.

I'm hoping Star Wars DVDs will be in my mailbox by this afternoon, so expect a post on them in the near future.

UPDATE (via Postmodern Barney): As far as John Byrne goes, I don't think Alba/Sue looks like a hooker. But that's just me.

UPDATED UPDATE: It was Fanboy Rampage!, not Postmodern Barney. Shows you what happens when I go off my meds. Profuse apologies to everyone.

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Must There Be A Superboy?

Every interpretation of Superman makes him super-powered by the time he's a teenager. While most don't put him in the familiar red-and-blue costume until adulthood, for about 40 years in the comics he did have a career as the teenaged "Superboy."

Much of the Superboy stories' appeal came from their fleshing-out of a known character. This is obvious from the tagline -- "The Adventures Of Superman When He Was A Boy!" It all but admits that if Superman weren't so popular, there wouldn't be a demand for Superboy. (It is also tempting to theorize that Superboy was created because the adult Superman couldn't realistically have an adolescent Robin-esque sidekick, but could have heretofore unrevealed teenaged adventures, and so help younger readers identify with him that way. In 1993, a perpetually teenaged "Superboy" was created as a sometime sidekick for, and ostensible clone of, the adult Superman, and his adventures continue to this day. I'm not so concerned with him here.)

In the 1950s, the Boy of Steel added much to the overall Superman legend and inspired the creation of the Legion of Super-Heroes, a group of superhuman teens who lived 1,000 years in the future. Matt Rossi argues persuasively that Superboy is critical to Legion mythology, because no other figure in history would have grown up to be the galactic legend that Superman became.

This is the source of my cognitive dissonance over having a teenaged costumed Kal-El. Superboy is significant mostly because he grows up to be Superman -- but on his own, I'm not sure anyone has really delved into the dramatic reasons for Clark putting on the costume as a youngster. Because Clark as Superboy would seem to make Clark as Superman anticlimactic, few adaptations have dealt with Superboy. The biggest exception, the "Superboy" TV series (1988-92), focused neither on Superboy's emergence nor the transition from "boy" to "man." (The 1985 Bob Rozakis/Curt Swan miniseries Superman: The Secret Years dealt with the latter, but not so much the former, at least from what I have read secondhand.) Here are the issues I see raised by a Superboy career.

The Secret Identity

Before the 1986 revamp, Superman disguised himself as mild-mannered Clark in order to convince people that Clark was the last person anyone would suspect of being Superman. According to writer Elliott S! Maggin, Superman considered Clark an elaborate fiction that took on a life of his own. In other words, Superman saw Clark as a separate person whose identity he assumed. This might have made it easier for "Clark" to endure the perpetual humiliations the identity required. Of course, Clark was precious to Superman for connecting him to the people of the Earth, so Superman protected Clark from these slings and arrows. Clark still took a lot of lumps.

Now imagine a teenaged Clark submitting himself to similiar torments in a small-town school environment. It would take a lot of internal fortitude for him not to crack under the strain. Allowing himself to be pushed around could alienate his classmates, encourage their taunts, or both. This ground was covered fairly well in the Stan Lee/Steve Ditko issues of Amazing Spider-Man, where Peter Parker was constantly frustrated by having to conceal his powers. However, where Peter was an outcast before receiving his abilities, and felt trapped by circumstances, Clark would have chosen such a life consciously; and that might have put even more pressure on him.

We see this for a few moments in the first Christopher Reeve Superman movie (1978), with a teenaged, Superboy-less Clark as the butt of the Smallville football team's pranks. Clark, the equipment manager, can outperform anyone on the team, but Pa Kent reminds him of the consequences of using his powers openly, and emphasizes that Clark was not sent to Earth to win football games. Whether a Superboy career would have helped Clark deal with these frustrations is debatable. Peter Parker coped by becoming Spider-Man, but the teen Clark of Superman didn't have to contrast his personality with a Superboy's, and so wouldn't have had to play the role with such dedication. Therefore, the classic model of the self-denying Clark may not be plausible for a "modern" Superboy. A different approach to Clark might be needed in order to make such a Superboy workable.

Somewhat ironically, the 1986 revamp of Superman's history omitted Superboy but made Clark a football star. This young Clark was also unaware of his extraterrestrial origins, until Pa Kent "scared him straight" by showing Clark the rocket in which he was found. This inspired Clark to spend the next seven years wandering the Earth, using his powers in secret as a mysterious "guardian angel." (Even this was frustrating, as shown in the first two issues of Superman: Birthright.) Only being exposed in public, and receiving a crush of unwanted publicity, compelled Clark to create the Superman identity. Therefore, the "fictional" identity is reversed from the previous status quo.

This teen Clark is the model for TV's "Smallville." I am far from a "Smallville" scholar, but broadly speaking, it shows Clark learning more about his origins as his powers develop over time. The producers stated early on that "Smallville"'s mantra was "no tights, no flights" -- that is, Clark won't learn to fly until the end of the series, shortly before he assumes the Superman identity. "Smallville" therefore tracks the development of the Superman persona, presumably as one which does not require the degradation of Clark's.

Again, I believe it would be easier on young Clark for "Superboy" to be the fiction. Still, we need to know how Superboy is going to operate before we can decide how he should be different from Clark.

Colleagues

The first Superboy story was published in 1945, 7 years after Superman's debut and almost 20 years before DC began dividing its heroes among several parallel universes. Still, eventually it was established that Superboy grew up to be the Superman of "Earth-1," the universe in which most of DC's comics from the mid-'50s through the mid-'80s took place. Because that Earth had few, if any, prominent superheroes before Superboy appeared, and because Superman has always been given a pivotal role in the emergence of superheroes, I presume that Superboy was intended to be the first prominent superhero of Earth-1.

(Your mileage may vary. This site places such historically significant figures as Zatara the Magician, J'Onn J'Onzz, Captain Comet, and the Shadow ahead of Superboy in the timeline, but that may have something to do with the need to make Superman's history indefinite and thereby preserve his youth. Furthermore, those other heroes either operated in secret or eschewed fancy costumes. Still other heroes like the Guardian and Manhunter wore costumes and operated publicly but had no superhuman powers. The wartime heroes Commander Steel and Robotman were more products of technology than superhumans; and the costumed superhumans TNT, Dan the Dyna-Mite, and Plastic Man were just not powerful enough to have the impact that a Superboy would. Thus, I recognize the qualifications about Superboy as Earth-1's first "prominent" superhero.)

As I mentioned in the earlier post, the appearance of a superpowered teenager is perhaps more unsettling than that of a superpowered adult. The teenager should only get stronger as he ages, and is less emotionally stable than an adult would be. Earth-1 might have seen a handful other costumed superhumans in the 1940s and 1950s, but Superboy was orders of magnitude more powerful than any of them. His appearance would signal a new age for the planet.

In the current unified model of DC's timeline, superheroes first came to prominence in the late 1930s and early '40s, in much greater numbers than on Earth-1. Many of these men and women formed the Justice Society of America and protected the homefront during World War II. These heroes were forced to retire by a McCarthyesque Congressional committee in the early 1950s. Decades later, Superman, Batman, and their more familiar contemporaries debuted, at an undefined "10-12 years ago." This generation of costumed crimefighters has been consistently portrayed as more powerful and more influential than their predecessors, with Superman at the top of their particular pyramid.

In either situation, it seems that Superboy would immediately head to the top of the pyramid; but in the unified timeline, at least the world could draw on its collective experience with the Justice Society (and powerhouses like the Green Lantern, Dr. Fate, or the Spectre) to gauge the impact of a Superboy. On Earth-1, Superboy's appearance would have been a quantum leap ahead of the first superhumans. There might even have been back-room conversations about how to neutralize the Boy of Steel. Superman: Birthright showed how Superman first gained the public's trust, but it also demonstrated how public sentiment could be turned against him.

Unveiling

In the comics, Clark becomes Superboy pretty much because he's itchin' for action and his parents think he's ready. By contrast, the Superboy-less Clark becomes Superman mostly in order to deal with a traumatic event -- the death of his foster parents in the 1938 origin (and in subsequent revisions until 1986); in the 1978 movie, Pa Kent's death and the contemporaneous discovery of Jor-El's crystal; or the need for privacy in the revised 1986 origin.

The 1986 origin is significant because it didn't just omit Superboy -- it also allowed Clark's foster parents to survive past his high school years. In the 1938 origin, Clark swears to use his powers only for good as the elderly Kents lie on their deathbeds. The Earth-1 Superman's origin has the Kents contract a fatal disease for which Superboy can find no cure; and they die around the time of Clark's high-school graduation. (The Secret Years miniseries then has Clark go to college and face similar failures as Superboy.) Because the 1986 origin is the first to let both Kents live, it has to find a new justification for Clark's heroic career.

Since the Kents helped get Superboy off the ground, a revised Superman origin which includes Superboy could take a similar approach. Smallville is not a big community (duh), but it is out in the middle of nowhere. The teenaged Clark could be content to fly around doing anonymous good deeds until a catastrophe forces him out in the open. As with the 1986 origin, he would then use a gaudy costume to "hide in plain sight." He might not even have to protect his secret identity that much, it being a sort of "open secret" that the townspeople trust each other to keep; and that could lead to tragedy.

If I were revising Superman history with a Superboy career, I might visit some horrific event on Smallville itself, destroying the town and most of its inhabitants, as part of an attempt to destroy Superboy. With Superboy refusing to lose another set of parents, the Kent family would survive, but Clark would retire his heroic identity. In Clark's mid-twenties, events (perhaps the alien invasion that brings together the Justice League?) would naturally force "Superman" back into the spotlight, but as previous Supermen had to deal with the deaths of the Kents, this Superman would rededicate himself to insuring that a Smallville-type disaster never happened again.

Having a clear break between Superboy and Superman seems to me to be a good way to distinguish the two periods. Giving Superboy a carefree childhood which isn't just Superman's in miniature also provides a thematic distinction. (The scenario does sound like a twist on the backstory of Kingdom Come, but I didn't intend it as such.) Virtually wiping out Smallville's population might seem more drastic than just having the Kents die, but to me it gives Clark a happier childhood and adolescence, surrounds him with a community which loves him for who he is, and makes him re-examine the depths of his Clark Kent identity.

In my mind, this approach makes Superboy the fiction while Clark is young, and then makes Clark the fiction while Superman is an adult. Because Clark is one of the few "Smallville survivors," he is naturally worried that someone might figure out he's Superman and start the process over. Thus, he throws himself even more into playing "Clark" to reduce that likelihood. The differences between Smallville Clark and Metropolis Clark can be explained as Clark's reaction to the disaster, which wouldn't be too far from the truth.

Of course, it's simpler just to say, as the current models do, that Clark was never "Superboy." There is probably even a simpler solution than I have proposed. I definitely wouldn't mind seeing what somebody wanted to do with the Boy of Steel if he or she got the chance.

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New Comics 9/15/04: Special Managed-Care Edition

Because this week's books are so good, I'm skipping last week's for now.

Identity Crisis #4 (of 7): Written by Brad Meltzer, drawn by Rags Morales and Michael Bair, edited by Mike Carlin. Best issue yet, and the first to really live up to the series' potential. While there are still grim tidings, and the ending is undercut somewhat by this week's Adventures of Superman, I'd almost call these proceedings "upbeat." Maybe this has to do with the long-awaited focus on the "Big Three" (Superman, Wonder Woman, and Batman), who get more reverential treatment from these creators than Alex Ross could ever have dreamed of giving them. Their appearance also signals a shift in pacing, as we get a sense that events are finally moving. Most of the issue is investigation, but couched in scenes which emphasize the characters -- for example, the Spectre closes a potential plothole while enjoying a reunion with his old buddy Green Arrow. Meltzer also allows Batman a bit of self-examination which happens to fit perfectly with my view of the Darknight Detective, so he earns extra points with me. Needless to say, my expectations have officially been raised.

Adventures of Superman #632: Written by Greg Rucka, drawn by Paul Pelletier and Rick Magyar, edited by Eddie Berganza. Rucka talked about this issue at the Superman panel in San Diego, but I could have guessed Lois would be OK. In fact, reading this issue, I expected more of a commentary on the health-care system than a study of the anguished Man of Steel watching his wife go through surgery.

Consider -- Identity Crisis showed us that the superhuman community protects itself with a whole other layer of high-tech security, unavailable to the general public. When that security is breached, it swings into action with a similar level of advanced investigatory and enforcement measures. Now we see that when the wife of a superhuman is shot, and things get too bad for the regular docs, Superman has the option of transporting her to JLA headquarters. Since Rucka has a number of front-line soldiers literally begging Superman to heal them -- a touch which I found completely credible -- giving Lois this kind of special treatment made me wonder if Supes would have done the same for someone to whom he was not so close. (Rucka also works in that the Umec army surrenders unconditionally upon learning Superman is in the area, which is another great bit.) This to me almost seems out of character, since Superman does not regularly place himself above ordinary people. I understand that Rucka is exploring the relationship between Lois and Clark, but the potential for contrast was there and went almost unexamined. Still a good issue, because it made me think about these things. I hope Rucka comes back to these themes.

Birds of Prey #74: Written by Gail Simone, drawn by Jim Fern and Steve Bird, edited by Joan Hilty. The Brainiac/cult story is over, but the cute opening is a wry follow-up of sorts. Black Canary and Huntress infiltrate a would-be "union meeting" for Gotham supervillain henchmen, and wear Penguin and Riddler outfits to do it. Oracle checks in with the theoretically rehabilitated villain Savant, and Canary then settles her score with Savant. On the balcony this series stole from the "BoP" TV show, Oracle muses about Huntress and Savant in a way that makes me think Simone is setting her up as the "Batman" of this group -- molding these recruits into the right kind of crimefighters. Having Oracle take on some of Batman's leadership qualities (and gosh, didn't that statement sound sexist?) might be worth watching. Next issue promises Big Changes in the aftermath of "War Games," but because this is the week where my lowered expectations are hopefully raised, I'll remain cautiously optimistic.

Batman: Gotham Knights #57: "War Games" Act 2, Part 4; written by A.J. Lieberman, drawn by Al Barrionuevo and Francis Portella, edited by Matt Idelson. And yet another pleasant surprise -- an A.J. Lieberman Bat-book which doesn't make me cringe! Oh, maybe a little, when Batman sounds like a 20-year-old, but thank goodness he's finally realized what's going on! Too bad it's a couple of installments too late. I don't know whether to praise the creators for making Batman more fallible, or go the other way for not letting him recognize his own plan sooner. Also too bad that the ending is telegraphed about 2/3 of the way through the book. What else happens? Well, Tarantula fights those bodyguard wannabes from last issue, Spoiler gets to be a badass, and as mentioned, Batman remembers his brain. There is a fairly big "huh?" about Batman's plan which might be excused by its last-resort nature, and another one which makes me wonder about a Plan B, but by my reckoning we're exactly halfway through this mother and there's still time for it to turn out well.

Fantastic Four #518: Written by Mark Waid, drawn by Mike Wieringo and Karl Kesel. The only complaint I have about "Fourtitude" so far is that the "Manhattan gets kidnapped into space" story was part of John Byrne's run, specifically when Reed saved Galactus' life. Since this issue also involves Galactus obliquely, I kept waiting for somebody to remember the earlier story, but no such luck. Not really a problem for me, because Waid, 'Ringo and Kesel deliver another solid issue full of excitement, humor, thrills, and suspense. I know I've been more happy than usual this week, but if these guys keep it up they deserve a long run on this book.

I also got Batman in the Eighties and have been flipping through it. Since it's, you know, the Eighties, I have most of these issues already, but they look like a good representative sample. If I get time I'll let you know more.

Finally, one item from last week: Essential Super-Villain Team-Up turned out to be a diverting, if somewhat confusing, trip through 1970s Marvel continuity. Basically it told the story of a strained alliance between Dr. Doom and Sub-Mariner (renewing what had been a brief marriage of convenience from the early issues of Fantastic Four) and expanding to include their battles with Attuma, the Red Skull, and Hatemonger. It wasn't anything I'm dying to see reprinted in a color hardcover, but I'm not wishing I had my $16.99 back either.

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Scary Superboy?

A big part of my thinking about Superboy -- the Kal-El Superboy of Earth-1, that is -- involves the general public's reaction to this flying teenager from the Midwest. If I understand Earth-1 history correctly, Superboy was its first superhero. Contrast that with the Earth-2 Justice Society heroes (Justice Socialites?), who were for the most part in their twenties and thirties when they burst on the scene; or even Marvel's World War II-era heroes, who were around the same age. In that light, Superboy's situation on Earth-1 was unusual, if not unique.

Put another way, it's one thing to see adult men and women dashing around in colorful costumes, performing amazing feats -- and it's quite another to see a kid who can fly, shrug off high explosives, lift tanks, and melt them with his eyes, and realize he's just going to get older and more powerful. Because those Superboy stories were by definition flashbacks, we know that he made it through puberty without lashing out at the world during some teenaged tantrum, but at the time the world didn't know he wouldn't go nuts. (And if he did, who'd stop him...?)

Don't know how much more this bears exploring, but I've already gotten about half a draft of a "Doing Superboy Right" essay written. So there you go.

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Yes, there are Tony Shalhoub jokes

Matt Rossi takes on The Greatest Batman Stories Ever Told, one story at a time. Currently he's done Parts 1 and 2 of the classic 1939 "Monk" two-parter by Gardner Fox and Bob Kane. This is everything you'd ever want in a Golden Age Batman story -- creepy artwork, deathtraps in quick succession, a stoic Batman who still gets a kick out of scaring people silly, and a supernatural villain. It was a clear inspiration for the Grant Morrison story "Gothic" from Legends of the Dark Knight #s 6-10, 'waaay back in 1990.

If only the Monk employed a gorilla....

P.S. Still trying to collect my thoughts on a variety of topics, including Superboy and the Waid/Kitson Legion, doing something about this spate of Bat-books -- and today's new comic day! Merde!
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Where Have I Been?

Just a quick update for those two or three of you who have been missing new content: in a nutshell, I got a new job which starts Monday, and I've been spending the last week or so getting ready for it.

This has meant cleaning and reorganizing around the house, looking for a new car (more travel in the new job) and buying some new clothes (the old suits were getting kind of ratty).

On Thursday I did buy a passel of new comics, as usual, including an inordinate amount of reprints (Fantastic Four Masterworks, Essential Super-Villain Team-Up, the second Perez Wonder Woman paperback, and the third Byrne/Wolfman/Ordway Superman trade). Life rolls on, and I'm back in the thick of it.

Still, I like doing this, and I think some of you like it too. Who knows if I'll have more or less time to devote to it, but I'll try not to get too far behind. Thanks for all the encouragement, and I'll talk to you soon.
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New Comics 9/1/04: Special Cheapskate Edition

Well, not really, because I bought Majestic #s 1 and 2 after hearing good things about the series. Otherwise I would have bought just three, count 'em, three new issues. Still, let me have my dreams.

Detective Comics #798: Written by Anderson Gabrych, drawn by Pete Woods and Cam Smith, edited by Bob Schreck. "War Games" Act 2, Part 1. Lots of plot in this issue and only one real cringeworthy balloon. (Page 3, panel 6: "No! No! Oh, God, no! Henry what have you done?!?") It's a solid, satisfying issue which sets up some intriguing threads, including Batman's relationship with the police and the fate of Tim Drake. (Okay, so Tim's fate isn't surprising, but given its predictability, it's not overplayed.) I got the sense that lots of things were happening without being lost among all the players. If that helps redeem all the exposition of Act 1, so be it. There's also a backup story featuring the Riddler and Poison Ivy which picks up where recent issues of Gotham Knights left off. I don't know why, but ever since "Hush," I don't know who this person calling himself the Riddler is supposed to be. He just seems radically different somehow.

Firestorm #5: Written by Dan Jolley, pencilled by Chriscross, inked by Rob Stull and Keith Champagne, edited by Peter Tomasi. Jason experiences a new Firestorm power while on the trail of last issue's antagonist. Along the way he merges with a police officer who has an unusual take on his "need" to be Firestorm. Also, Superman and the Flash pop in for a couple of pages. This title has earned its way onto my regular rotation (alert readers will note that Justice League Elite is no longer there). Jason already seems more book-smart than Ronnie Raymond, not to mention more practical (as evidenced by his calling the professionals when he needs their help). The "anthological" nature of this series -- merging with different people -- also offers a whole host of possibilities. I'm waiting for Jason to merge with his dad. (Is it coincidence that Ronnie Raymond also lived only with his father, who by and large didn't know about Firestorm? Hmmm....)

Birds of Prey #73: Written by Gail Simone, with alternating artwork by Ron Adrian & Ron Lea and Eric Battle & Rodney Ramos; edited by Joan Hilty. Huntress and Vixen take out the cult and its mind-controlled superheroes as Black Canary helps Oracle fight off Brainiac. It's funny, but I would have expected Adrian & Lea's "cleaner" artwork to go with the more cybertech-oriented storyline. Battle & Ramos' muddier style could then have augmented the superhero slugfest. Still, the two teams mesh well, and Battle/Ramos did get a more unsavory assignment overall. They definitely don't make the bloodied Canary look glamorous. Since this issue's theme is "breaking mind control," Huntress uses a rather novel method, but Black Canary is not so original. Thus, the story isn't quite redeemed for me. Technically there's still one issue to go in the arc, so I'll see how that turns out in a couple of weeks.

Majestic #s 1 and 2: Written by Dan Abnett & Andy Lanning, drawn by Karl Kerschl, edited by Tom Palmer Jr. The only exposure I have to this WildStorm character is his appearances in various DC books -- 1997's JLA/WildCATS (where he met Superman, assuming the story still counts) and last winter's Superman titles. Clearly he's a Superman analogue, because the miniseries is playing that for all it's worth. Issue #1 has an entertaining encounter between Majestic and Superman in a greasy-spoon diner, and follows that up with a Majestic/Eradicator fight. Issue #2 has Majestic taking Superman's advice to start a secret identity, but even that has him mistaken for the Man of Steel. Meanwhile, there's a flashback to Majestic's homeworld, from which something has pursued him to DC-Earth. I can't quite discern a plot for the miniseries just yet, other than "Eradicator hates him" and "something evil from his home has followed him," but each issue's main vignettes have held my attention long enough for me to want more. Heck, it's probably cheaper than the paperback will be.

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Not a bad sendoff

James "Scotty" Doohan received a star on the Hollywood Walk of Fame today. Over the weekend, he said goodbye to fans at a Los Angeles Star Trek convention. He suffers from Alzheimer's and Parkinson's diseases and was in a wheelchair.

It's said that many of today's scientists were inspired by Star Trek to enter their chosen fields. The featured speaker at Saturday night's dinner honoring Mr. Doohan probably wasn't one of them. In fact, his greatest achievement came about 6 weeks after the original Trek's last episode aired. On July 20, 1969, he became the first human to walk on the Moon.

Yes, the chief engineer of the fictional Starships Enterprise was toasted by Neil Armstrong -- who, as I understand it, doesn't come out for just anybody.

Very cool. Very, very cool indeed.

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Supreme Power, Part 2

The cover of issue #3 shows Hyperion in his super-suit. It's red, white, and blue, but the tunic is a sky (or "Carolina," if you prefer) blue -- not so much the deeper blue of the American flag. (More United Nations, actually.) No cape, naturally. The "H" symbol forms his neckline. (Also, the Hyperion costume has a fly, which is an innovation I kind of wish more traditional costumes would adopt. Just for the sake of practicality. Even the Superman and Batman costumes could hide it under the briefs-on-the-outside, you know?) He's holding a tattered American flag. The background is a sort of dingy bronze/parchment color, and the lighting reminds me of the portrait of George Washington. Very "archival" looking.

Page 1: Synopsis.

Pages 2-3: Mark meets Bush 41 at the White House. Bush wants him to soften up the Iraqi military before Desert Storm begins. This puts the issue at the end of 1990/beginning of 1991, about 14 years after the rocket landed. Lots of exposition on page 2, with only two unique panels (the White House, and Mark sitting). Mark hears everything they say. More talk about how powerful Mark is -- strong, fast, and invulnerable, and he was probably holding back so as not to blow out the instruments. Slightly less exposition on page 3 describes Mark's job for the military.

Another potential error which could just be a slip of Bush's tongue: the operation in the Middle East which responded to the invasion of Kuwait was called "Desert Shield" until the air assault began, and then it became Desert Storm. By using "Desert Storm" in front of Mark, Bush is getting ahead of himself. (Just an observation.) On these pages, Mark's expression hardly changes, but we get the feeling that going up against the Republican Guard would be about as hard for him as getting a box of crackers from the top shelf. Like, "Okay, if you say so; I'm just looking for something to do." Needless to say, this is not an unusual expression.

Pages 4-5: In mid-January, 1991, Mark destroys the Iraqi military, although we never see it directly. Given what we have learned about the real Iraqi military, both in 1991 and 2003, it would have been interesting to see if the U.S.'s intelligence was accurate. It would have fit this series for Mark to encounter an undersized, underequipped Republican Guard, destroy their tanks, and send them fleeing into the desert. I doubt Mark would have killed any of them (especially not after Spot).

A footnote: At this point Mark is at least 14 years old. When Superman's teenage self, Superboy, announced himself to the world at around the same age, one of his first public appearances was as a target for Army gunners.

Page 6: Jason Scott, a suspicious reporter for a great Washington D.C. newspaper, thinks something's fishy about the easy success of Desert Storm. It's another Superman parallel, since regardless of the iteration reporter Lois Lane always has one of the first public encounters with Superman. However, Jason's involvement with Mark won't go as far as Lois.' (Now that would be a MAX book!)

Pages 7-9: It's now at least 1995, and Jason defends his Muldering to his editor. He's investigating weird occurrences in various military actions. This is similar to John Byrne's Superman origin, where Clark Kent left Smallville at age 18 and traveled the world for 7 years, saving lives in secret. Here, Hyperion acts invisibly for the government -- including in Haiti and Somalia, two places where the real U.S. military faced pretty stiff resistance. In single-panel, rapid-fire montage style, Jason interviews assorted weirdos, including Ma Kent and two people who have heard of "Project Hyperion."

Page 10: Jason does a FOIA request on "Hyperion" and gets a heavily-blacked-out file.

Page 11: Jason confers with a Deep Throat who looks a lot like Joe Ledger. It can't be Joe, because we already know he's in a coma. Actually, it looks a lot like Buzz, an unsavory character Gary Frank drew in the late Supergirl book.

Page 12: Jason is freaked-out by what he learns. The panels show him isolated from others, which is probably how he feels -- "isolated" in the "singled out" sense, like something was watching him.

Page 13: Jason visits Ma Kent, who we learn is named Cavenaugh. Elsewhere, in some red-lit situation room, Bill Clinton says it's time to tell Jason the truth. That way, the government can control how the story gets out.

Pages 14-15: Naked Jason is visited by Hyperion. MAX moment: full frontal male nudity for Jason. Page 15 is a splash panel of Hyperion in a black leather X-Men-movie-type jumpsuit.

Page 16: Montage of world news people reacting to Hyperion. The inevitable televangelist gives thanks that God has blessed America thusly. One of the high-school girls reveals she really liked Mark all along. (Tramp!)

Page 17: In the red sit' room, government people plan how to market Hyperion and use him for political advantage.

Page 18: Clinton's news conference, intercut with Mark (in the Hyperion suit) floating above the clouds.

Pages 19-20: Intercut Clinton with Hype's memories (Clinton says he was "raised in an environment of love") as he swoops down to the press conference. Here we do see one panel of Hyperion destroying a tank, but also one of him frying Spot. I bet page 20, panel 2 is an homage to the famous "pointing down" pose from the cover of Superman #1 (1939).

Page 21: Hype appears at the press conference in a tasteful V-neck sweater, shirt, tie, and slacks. "May we ask you a question?" He replies, "Of course. Freedom of the press is one of the foundations of the American system." (This last is juxtaposed with Jason Scott.)

Page 22: Hype wraps things up with Jason. Despite his strange answer on the previous page, and his perpetual stoicism, Jason compliments him on his social skills. Hype is bummed because he doesn't know his origins.

Pages 23-4: Jason and his editor talk about Hype. Jason thinks he's been played by the White House to distract him from other superhumans. In fact, Jason hears reports of a speedster in Atlanta.

When I first saw issue #4's cover, I focused on the "arrowhead" and figured this must be the SP counterpart of Green Arrow. Wrong, obviously. Nighthawk looks suitably creepy here, what with the glowing yellow eyes and the sharp-looking "beak."

Page 1: Synopsis of issues #1 and 3.

Pages 2-5: Intercut a meeting at a military base with Mark saving a plane. General Casey is releasing the Fa-Kents from their duties and sending them to retirement in Amsterdam. Everyone at the meeting comments on Mark's public image and the need to keep him connected to the country. The Fa-Kents each receive Presidential Medals of Freedom.

My hat is off to Gary Frank, Jon Sibal, and Chris Sotomayor (color) for the splash panel on page 3. Hyperion rescues the plane with the sun behind him. It's really beautiful -- a "look! Up in the sky!" moment if ever there was one.

Of course Mark enjoys using his powers to help people, but we know (thanks to the general) that this emergency was staged by the military. It does offer a rare look at Mark happy, or at least satisfied. That's not ego smiling faintly out of page 4, panel 3. However, something creepy is behind the eyes of that woman in the last panel. Yikes.

But again with the '80s-Alan-Moore aping! Casey says "You've given America a new star" right under a big closeup of a star on the flag! We get it, guys. Every time I want to like this series, it chaps my hinder. These anvils are starting to hurt!

Pages 5-7: An insensitive white accountant tells Kyle Richmond how rich he (Kyle) now is. Kyle indicates that the guy's mere presence reminds him why he's getting his parents' inheritance. (In case we've forgotten, there's a newspaper clipping of the hate crime on the wall behind Kyle.) Meanwhile, the TV blares an "Entertainment Today" report on Hyperion. On TV, Hype says "you can't break [his feelings] down into black-and-white terms." Wham! (Oww!) Once Kyle is alone, he dresses in the Nighthawk suit. The closeup of Nighthawk's goggles reminds me of Nite Owl's goggles in Watchmen.

Page 7 does have a weird panel that I honestly didn't notice until now. In panel 4, Hyperion makes what sounds like a joke about kids not jumping out of windows to be like him. It's punctuated like a joke, but Hype has this downcast look which makes me wonder if he's referring to an actual event. Otherwise, the words and the picture just don't go together. Anyway, it's all in the service of telling us again that Hyperion feels alone, and contrasting that again with the existence of another masked mystery-man. Thanks, folks, I missed the ends of issues #1, 2, and 3.

Pages 8-11: Nighthawk saves an African-American woman from white attackers. It's all very bloody, including an arrowhead to the eye and the ripping off of ears. (Two ears! Up yours, Reservoir Dogs!) Nighthawk isn't interested in scaring these thugs in order to give him an advantage; he knows he can take each one of them without it. Frank does a good job with the fight, using some traditional "Batman moves" (only showing parts of the hero, keeping him in the background, emphasizing the glowing eyes) without trying to make Nighthawk look like Batman. The victim's expression at the end of the fight also captures her mood -- a cautious "take that," I'd call it.

Pages 12-14: At the Fa-Kents' house, Casey tells Mark to look into the Atlanta Blur rumors. But Mark and Pa were supposed to go fishing! Too bad, but maybe Ma can go instead. By the way, the "Miltons" are named Mason and Elizabeth. Mark wants to reschedule the fishing, but Pa really wants to go. Mark hears Pa's heart beating abnormally fast; and on his way out, notices the big red "X" over "Fishing" on the calendar.

Page 15: Fans have camped outside the Fa-Kent house (just past the barbed wire). One OMIGOD!s when she sees Hype lift off. This little scene makes sense -- Mark's parents were under constant scrutiny by the government, so naturally after he went public they'd be under constant scrutiny by fans and the media and the government scrutiny might not seem so bad.

Page 16: The Fa-Kents leave as Hype flies away.

Pages 17-18: Hype hovers over Atlanta, listening -- but does he hear the Fa-Kents' deception? (Nice little joke about Atlanta's obsession with "Peachtree" street names.) He hears the Blur and chases after.

Page 19: Hype catches the Blur, but Blur gets away.

Page 20: At long last, Hyperion realizes he's not alone. No time to dwell on that, though, as soldiers arrive to tell Hype there's been an accident with his parents.

Pages 21-22: Hype searches the ocean and finds the wrecked fishing boat.

Page 23: Hype mourns as the Fa-Kents split up in Amsterdam. From his footsteps on the beach we can tell he just flew away, but for some reason we also see quite a few fish washed up on the shore. What does this mean? Is it some side effect of his being in the ocean? Is it yet more irony, that the fish were literally coming out of the ocean but the Fa-Kents weren't there to catch them? Does Hyperion realize this? Did he put his dad's racing heartbeat together with the X-ed out calendar and deduce they were leaving? Is he sad because he thinks they're gone or because he thinks they went fishing just to get away from him? Either way, he's sad because he knows they're not coming back. He really is alo-- oh, wait....

Comments

These issues introduce Hyperion to the world and show him doing traditional superhero stuff. Not only is Hyperion a celebrity, he's also apparently pretty glib. Considering how much exposition went into convincing us how powerful he was, and how screwed-up his childhood was, I'm surprised we're asked to accept his newfound social skills so readily.

In fact, that's one of the big potential problems with this series. It's drummed into our heads that Hyperion was raised under a microscope, in virtual isolation, by people who were supposed to love him without having any genuine feelings for each other. From this environment he learned the concepts of "love" and "trust." He's able to articulate both of those to his "dad" in order to have a normal day at school.

Now, I am willing to accept that the Fa-Kents gave him enough semblance of an ordinary upbringing so that he knew to call one feeling "love" and the other "trust." (And how, exactly, did they do that by themselves? Were there no grandparents, uncles, aunts, cousins, etc.? Did Mark spend the first dozen years of his life with his parents, assorted teachers, and the TV?) I can accept that his upbringing allows him to function in normal society. It is much, much harder for me to accept that he can charm the White House Press Corps.

These issues set up Mark's desire basically to be a superhero. He is fulfilled by using his powers to help other people, perhaps because he knows it's right, but also because he sees that he can make people happy, instead of nervous, for a change. This is half of the Clark/Superman equation, with the other half being the need for a normal life. (That's coming, don't worry.) For now, Mark enjoys serving people, without much thought for how that could be abused. I suppose we can infer that his foster parents provide him with enough privacy and "down time," but at the end of this issue they're gone. This leaves the government/military (SP seems to treat them interchangeably) free to step in as a parental figure, and as we will see, that will end up backfiring on it completely.

I'm not really commenting on Nighthawk because he raises some sensitive issues about which I have no experience. He's basically Batman with a racially-charged origin, but he goes entirely for the violence with none of the theatrics. To me this makes him less interesting visually than Batman, and more of a "street fighter" like Daredevil. There's more with him coming up soon as well.

That's pretty much it for these two issues. None of the Spectrum, Zarda, or Amphibian plots were advanced. Remember, it's 1/3 of the way through the first year, and 2/3 through the first paperback, and the only plot which has formed so far concerns Hyperion's journey of self-discovery.

And maybe the dead fish.

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And yet I still feel inadequate

Checked out Give Our Regards To The Atom-Smashers! from the library yesterday and cracked it open tonight. Among other things, it contains a neat American Flagg! essay by Steve Erickson and an autobiographical "Judas Contract" essay by Brad Meltzer. Great minds think alike, I suppose.

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Supreme Power, Part 1

After spending a year with Supreme Power, I still don't much like it. I didn't really like it after the first issue, but wanted to give it a fair shot. 12 issues should be enough to attract and hold a reader, and I like to think I have an open mind.

Still, every time I'd get around to writing exactly how I feel about this series, I'd always get blocked. Therefore, I'm going through the existing 12 issues, 2 at a time, and giving them one last shot. I will honestly try to be fair.

Let's get on with it, shall we...?

Cover of issue #1 features the child Mark Milton wrapped in an American flag, standing on a marble slab, glowering at the reader. It says to me now, as it did last summer, "this kid is controlled by the United States government, and he hates you." Oh, the kid probably has superpowers; otherwise he'd just be a kid and you wouldn't be scared -- but this cover makes you feel like you should be scared of him. Ironically, as we'll see, Mark neither wraps himself in the flag (other people do it for him) nor actively hates people without good reason.

Page 1: Mark's rocket crashes as the "Kents" listen to "Cruel To Be Kind" on their pickup's radio. (By the way, according to NickLowe.net, the album from which that song comes was released in 1979. We'll later learn that Mark landed in 1977. I want to be a little picky about real-world facts, because the series is supposed to be set in the real world as much as possible.) Reference is made to Mark's ship "singing" of its journey, and singing to Mark that he will never be alone. There are a few layers here -- both the ship and the radio are singing; the "Kents" are going through some marital problems, and the song's about handling a lover's quarrel; and Mark's "never being alone" will turn out to be a double-edged sword. He will never be alone, although he will want to be left alone.

"Cruel To Be Kind" also refers to the theme of the 1985 12-issue Squadron Supreme maxiseries, which showcased the characters from which these characters were based. The Squadron Supreme was the Marvel equivalent of DC's Justice League, with analogues for Superman, Batman, Wonder Woman, the Flash, Green Lantern, etc. In the SS maxiseries, following a tremendous battle with supervillains, the Squadron started rebuilding the global infrastructure and ended up becoming its de facto government. Because they were a little on the totalitarian side, but had good intentions, there were conflicts within the group and none of it really turned out well. Thus, "Cruel To Be Kind" is appropriate here.

Page 2: Splash page of Mark's rocket crashing in front of the "Kent" pickup truck. The only dialogue is the radio singing "Got to be cruel to be kind." I might have been willing to give the Stephen-King-esque use of song lyrics a pass on the first page, but having them emphasized on this page is too much. Unfortunately, that's going to be the pattern from here on out. (Also, the indicia box covers the truck's screeching tires as it swerves towards the ship; otherwise, the truck might have gotten a little more attention.)

Page 3: The "Kents" find Mark in the wreckage of his ship. He's covered in chrome life-support equipment and looks like the bejeebus has been scared out of him. Contrast this with the happy, giggling Kal-El who emerges from the crater in Superman (1978).

Page 4: "Ma Kent" sees this as a miracle and a sign that their marriage will be healed. "Pa" isn't so sure, looking at the chrome and green goo of the life support. Mark is happy to be out of the machinery. Don't get used to the happiness, kiddo.

Page 5: A silent series showing the pickup driving away and black helicopters tracking it.

Page 6: Jackbooted government thugs show up at the "Kent" household. At this point the series could have really used an Elian Gonzales shout-out panel.

Page 7: Jimmy Carter gets briefed on Mark and orders that he be raised as a child of the United States. Oh, the irony that Jimmy, with the kindest public image of all our recent leaders, sentences Mark to a Truman Show adolescence! By the way, Mark sits on a marble table that looks like the same material from the cover. He is not wrapped in a flag here, though. Exposition briefs the President about Mark's alien origins, his "skin density," and his strength.

Page 8: More exposition, as Mark's second set of foster parents (who I like to call the "Fa-Kents") receive their mission. They are specifically warned not to get emotionally involved with each other or with anybody on the "outside." In other words, 15-20 years without a romantic relationship with another person. (Isn't that DC and Marvel's target audience anyway? Thank you, I'm here all week.) I'm guessing that conjugal visits will involve lots of hookers and porn? Nice. Ma Fa-Kent still affectionately puts her hand on Pa's. Careful, kids, no nookie!

Page 9: Yet more exposition on the government origins of how "Project Hyperion" and "Mark Milton" were named. One of this series' obsessions is explaining how everything works. In a playroom, Mark gets fed a bottle on a stick by a woman dressed like Jane Goodall. Cut to Mark celebrating a birthday with the Fa-Kents behind barbed wire.

Pages 10-12: For his birthday, Mark gets Spot the puppy. The Fa-Kents both leave the room to get the rest of his presents, Spot starts yapping, Mark gets startled, and Spot gets fried with heat vision. Now, I don't have kids myself, but isn't the first rule of toddlers that you never leave them unattended? Especially kids you found in spacecraft who are super-strong and invulnerable? Of course, this traumatizes Mark. Is this why the series got the MAX treatment?

Page 13: Ma Fa-Kent is traumatized too, so Pa suggests they slip away from the cameras for a little backdoor action. Oh, that's why SP got the MAX treatment.

Page 14: Next day, it's a lot colder in the Fa-Kent household, as Ma tells Pa he's not getting into her cabinets anymore. In the news, Pol Pot's regime ends, and the Shah comes to the U.S. That means it's January 1979.

Page 15: Mark grows up in front of the TV. From events I'm guessing this compresses about 9 years -- the end of 1980 (Reagan elected; John Lennon dies) until June 1989 (Tiananmen Square). We see that Mark is home-schooled. Couple of potential errors in the 1989 scene -- Mark refers to Chinese leadership as "Mousey Tung," but Mao died in 1976; and there is a widescreen broadcast when commercial HDTV wouldn't start for at least another 7 years. Probably a government channel anyway.

Pages 16-18: It's 13 years after the rocket was found, so at least 1990. George H.W. Bush examines the rocket and the prism which powered it, and his naughty thoughts about a garter-belted scientist are manifested in the prism. Records from the rocket show it was escaping from a space battle. Bush wants to know who made the records, and what do they mean about Mark's arrival?

Pages 19-20: Mark and Pa have a heart-to-heart. Mark wants assurance that Ma and Pa love each other. Mark describes his super-senses, says he knows about the guards, and reveals he can fly. Nothing can keep him in that house, but he will stay if he knows his parents love each other. He assures Pa "I love you just as much as you love me." See, more irony!

Pages 21-2: Bush 41 tells us about the Doctrine of Unintended Consequences as a segue into the introduction of the Atlanta Blur. Blur's sonic boom makes his neighbor think "there's a storm coming." Spooky.


Issue #2's cover features Joe Ledger, who we will later know as Dr. Spectrum, the Green Lantern analogue. His upraised fist shows off the power prism embedded in the top of his right hand. He wears a green-and-black quasi-military outfit which reminds me of the Silver Age Green Lantern costume. Ledger is staring intently at the glowing prism with a mixture of caution and awe.

Page 1: Synopsis of issue #1.

Pages 2-4: Mark fries a history book with heat vision. Mark and Pa have a talk about how Mark needs to meet other kids. Mark wants an opportunity to be trusted, because imagine what he’d be like if he didn’t work on his social skills. There is so much irony in this statement I could pick it up with a magnet.

Pages 5-6: Logistics of getting Mark to school involve using a tank for his "bus." Mark shows that the tank won't hold him. I have a feeling the tank bits are supposed to be funny, but even after one issue the mood has been so unrelentingly grim and solemn that it just comes across as more of the same.

Pages 7-11: Amphibian's dad reveals the horrible secret of her birth, 14 years ago. Back then, Mom watched a shooting star streak overhead and dislodge a few smaller "streamers." Later, she gave birth to a non-human child. (Mom wanted a boy, ironically enough.) Seeing the child, Mom drowns herself (singing "When You Wish Upon A Star"), but the baby's fine. Dad goes into a mental institution.

Pages 12-13: The Richmonds are killed by racists, but their young son Kyle survives.

Pages 14-17: Joe Ledger receives the power prism and learns how to use it. It bonds to him, but he goes into a coma. He is a military assassin who considers himself like a "surgeon" or "doctor."

Pages 18-19: A mother and son take food to a (presumably) aged, wrinkled crone who hasn’t been seen in a long time. They call her "the Princess." After they leave, a wrinkled hand appears and announces "something is stirring." MAX moment: full frontal female nudity in the wall art outside the Princess' chamber.

Pages 20-22: Mark's day at school; nobody likes him and the girls think he's creepy. He sees and hears it all.

Page 23: Schoolday wrap-up with the Milton family. When they say they don’t know if there’s anyone else like Mark, we see shots of the other future Squadroners.

Comments
By the end of issue #2, we’ve seen the basic origins of those we will know as Hyperion, Nighthawk, Amphibian, Doctor Spectrum, the Blur, and Zarda/Power Princess. Most of these 45 pages are devoted to Mark/Hyperion. It is made abundantly clear to us that the government is doing a horrible job raising him. I used to think that Supreme Power was Marvel’s way of saying "Superman would be cool if we did him, because he would work for the government and he wouldn’t have that dopey secret identity with the glasses." Now I’m not so sure.

I think SP tries to have it both ways – first, by saying "look how we’ve made Superman relevant by taking away Clark and the Kents"; and second, by saying "look how screwed up Superman would have been if he hadn’t been raised by the Kents." Clark Kent has always been Superman’s way of hiding from the world, precisely so people like Mark’s one-time classmate won’t treat him like plutonium and screw up his worldview. In its twisted, bass-ackwards way, Supreme Power reinforces that.

SP also ties its other paranormal individuals to the arrival of Mark’s ship. This hearkens back to Watchmen, which used its lone superpowered character as a springboard for all the changes in its world. However, where Watchmen (and many other "real-world superhero" stories) started with the changes and used flashbacks to show how they were made, Supreme Power shows the progression in a more linear way. It also devotes paragraphs of expository dialogue to its characters’ details.

In the mid-to-late 1980s, Watchmen, The Dark Knight, and Squadron Supreme all showed superheroes as tools of the government. (Of course, in SS, they were the government.) This ushered in a whole slew of "realistic" takes on superheroes, many of which involved secret government and/or corporate projects from which the heroes escaped. (John Byrne's Next Men, DNAgents, Gen13, The Liberty Project, and even Watchmen's Dr. Manhattan himself are all examples of this.) Supreme Power hardly breaks new ground to suggest that Supes/Hyperion could have been part of such a project. The extent to which it explains his early years comes across as overcompensating.

In other words, I'm not convinced that Supreme Power believes in its story or its characters enough to let them stand on their own. It invests so much time, energy, and dialogue in making sure everything is plausible that it sucks all the joy out of what made these characters popular in the first place. Heck, none of the characters seems to be having much fun except the Blur, and we barely get to know him in these two issues.

So where do we stand at the end of issue #2? Mark's an alienated teen with an uncertain past, but he has four potential colleagues waiting to be introduced to him. Ominous portents surround all of them. There is no joy in Mudville. Did I mention there was a storm a-comin'?

Credits:
Written by J. Michael Straczynski, pencilled by Gary Frank, inked by John Sibal, and edited by Mike Raicht and Nick Lowe (probably not the same one).

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