Posts Tagged Superman
It’s not that I doubt the acting talent of Henry Cavill, or the directing talent of Zach Snyder. I just think they’ve got the wrong Superman.
“What if a child dreamed of becoming something other than what society intended?” Jor El asks as the camera focuses on a butterfly stuck in the chain of a swing in the trailer. Subtle.
As far as his biological parents are concerned, baby Kal El’s biggest problem won’t be dealing with the reality of being an orphan from a dead world, it will be growing up in one that’s too limiting.
As the trailer continues, the disembodied voice of Jor El encourages his son to be an example for humanity to strive for. How? Humans can’t shoot lasers from their eyes.
Obviously, a character that’s been around as long as Superman is open to interpretation but, so far, this version seems more like an Ayn Rand character than Superman.
The two most important elements of Superman are his powers and his background. The powers are self explanatory, but Man of Steel has changed Superman’s background for the worse.
Yes, he was born on Krypton, but he was rocketed to Smallville, Kansas as an infant. Raised by Jonathan and Martha Kent, he was imbued with American values, not Kryptonian ones. He’s just as ignorant as the rest of us, he can just outrun a speeding bullet.
Superman isn’t an alien emissary sent to enlighten humanity; he’s a naturalized immigrant who just happens to have superpowers. He has the same values as the majority of people; he’s just in a position to act on them.
And while Superman has many amazing powers, super philosophy isn’t one of them. Throughout his career, he’s been more than happy to defend the status quo. Remember “Truth, Justice, and the American Way?”
Even in his more rebellious days during the 1930s, Superman’s ideas about social problems tended to conform to his human readers’. His ideas of social justice fit comfortably with FDR’s New Deal, and the only he time he intervened on a global scale to stop a non-super threat was when he dragged Hitler and Stalin to the League of Nations in a bid to prevent World War II (DC probably doesn’t consider this story canon).
In fact, Superman’s passivity has earned him more than a little ridicule from fans. His reputation as the “Big Blue Boy Scout” is so resilient that Frank Miller even turned him into a government lackey in The Dark Knight Returns, blindly following the orders of a Reagan-esque president.
Superman may be the original superhero, but the lack of conflict in his story has made it hard to keep him appealing to comics readers or moviegoers. Forcing Superman to confront the people he protects will definitely add conflict to the story of Man of Steel, but at the expense of his original characterization.
If the movie is anything like the trailer, this new, more alien, self-righteous Superman won’t be a good substitute for the one lifting a car on the cover of Action Comics #1.
Superman may be the first superhero, but he’s also one of the least popular. From his spit-curled and square-jawed visage to his ability to move faster than a speeding bullet, Superman is the perfect defender of justice. That also makes him perfectly boring.
In an age of sophisticated comics readers, and the wonderfully conflicted and nuanced heroes they demand, the guy known as the Big Blue Boy Scout doesn’t have much to offer.
It doesn’t have to be that way, though.
Growing up, I always preferred Green Lantern and Batman to Superman, but over the years I’ve found a few great stories that even the most jaded nerd will enjoy.
In honor of the premiere of Man of Steel, here are five depictions of Superman that helped me take him seriously. Hopefully they’ll give you a new appreciation for the Metropolis Kid too.
If you’re having trouble taking a guy who wears blue tights and a cape seriously, this might be a good place to start. You don’t have to love Superman to find the idea of turning him into a Soviet dictator entertaining.
In this re-imagined tale, Kal-El’s rocket lands on a Soviet collective instead of the Kents’ farm, leaving him to grow up under the wing of that other Man of Steel, Joseph Stalin.
The concept isn’t just amusing, it’s well-executed. Writer Mark Millar rearranges the entire DC Universe around Superman’s change of allegiance, with tweaked versions of familiar characters both real and historical.
For some reason, DC has always been able to produce great animated versions of its characters. Justice League (and the expanded Justice League Unlimited) is a case in point.
Predictably, Superman becomes the de facto leader of the team, but he actually seems like a good choice for the role. He’s cool and affable, not just a strong man with a rigid Henry Manly-esque sense of honor.
Putting Superman amongst his superhero peers also takes him down a peg. With Batman, Wonder Woman, and others around to question some of his not-so-super judgment calls, we see that the Man of Steel isn’t infallible.
Like Red Son, Kingdom Come out-of-continuity story, but it’s grimly realistic. In the near future world of Kingdom Come, the perpetual battles between superheroes and supervillains are starting to wear on humanity, and Superman is called on to reign in both sides.
This is Superman when he’s done playing nice; he’s not just enforcing order, he’s creating it. It’s a more serious focus on the character that focuses on the decisions that are normally glossed over in his quest for truth, justice, and the American Way.
If that’s not enough, there’s also spectacular artwork by Alex Ross and an epic fight between Superman and Captain Marvel, which is highly appropriate given the two characters’ intertwined history.
It’s not necessary to read all of Grounded, the last story arc before Superman was redesigned for the “New 52,” just the first four issues. They focus on Superman taking a walk across America, meeting real people and real problems.
After Kryptonian survivors prove they can’t live happily ever after on Earth in War of the Supermen, ordinary humans are starting to resent Kal-El’s presence. After all, even with Superman around, the world is a pretty terrible place. Plus, he causes a lot of collateral damage.
Comics sometimes have trouble addressing real world issues, but Grounded does better than most. It shows the obvious dichotomy between the existential threats that superheroes regularly deal with and the more mundane crimes they often don’t have time for.
Grounded also highlights an important truth about Superman. After rescuing a child from an abusive father (in issue 705), he tells police that the only thing needed to stop the abuse was,“someone, anyone, with a pair of eyes, a voice, a phone and ten cents’ worth of compassion.” Like anyone else confronted with such a situation, once Superman knew it was happening, he knew what needed to be done.
Superman’s reflexive do-gooderism can be annoying sometimes, but here it works. We see that Superman has the same sense of right and wrong as most people; he’s just in a better position to act on it.
Of course, what really makes Superman great isn’t his corn-fed characterization, it’s his powers. Grant Morrison’s All-Star Superman throws out origins and conflicts, and just focuses on Superman using his superpowers to do amazing things.
In this out-of-continuity story, a fatal radiation exposure leaves Superman with one year to live, and he decides to make the most of it. He performs 12 Herculean labors, including answering the Unanswerable Question and curing cancer.
Sometimes it’s nice to see Superman being just, well, super. After all, that’s what made him, and the entire superhero genre, when he first flashed his “S” symbol on the cover of a comic 75 years ago.
It’s common knowledge that most of the world’s greatest superheroes were created by Jews. The list of famous Jewish comics creators includes Superman co-creators Jerry Siegel and Joe Shuster, as well as Stan Lee, Frank Miller, and Neil Gaiman. These Jews created comic books, but what, if anything, about those books is specifically Jewish? That’s what Harry Brod tries to find out in Superman is Jewish?
Brod, Professor of Philosophy and Humanities at the University of Northern Iowa, sets up a surprisingly sprawling narrative in just 194 pages. He links comics to a greater tradition of Jewish storytelling, including the golem and El Lissitzky’s Had Gadya, which Brod nominates as a sort of prototype graphic novel.
Of course, most attention is paid to what modern readers would readily recognize as comics. Superman gets his own chapter, where everything from the Hebraic origin of the name Kal-El to Clark Kent’s characterization as a nebbish is parsed out.
A lot of this has been explored before, particularly in Larry Tye’s Superman: The High-Flying History of America’s Most Enduring Hero. Brod’s Jewish lens does add a new perspective, though. He describes Superman’s postwar transformation from sadistic street fighter to big blue Boy Scout as a “whitewashing” of his ethnicity.
The section on Marvel is a little less strong. There is little explicit evidence of Jewish themes in Marvel comics (with the exception of Ben Grimm, a.k.a. The Thing, and a few other Jewish characters), so a lot of this is based on conjecture and interpretation of tropes like Spider-Man’s snarky humor and the general liberal tone of the 1960s stories.
What really makes this book worth reading is Brod’s description of Jewish comics creators deploying all of their talents to tell Jewish stories. He makes a convincing argument not just for the literary merit of Will Eisner’s Fagin the Jew or Art Spiegelman’s Maus, but also describes the importance of the graphic novel medium to the structure of those works.
Superman is Jewish? tries to be more than just a list of outed Jewish comic book creators and characters, and it largely succeeds. Brod treats a subject that is still largely viewed as a closed-off nerdscape with seriousness, and tries to link it to a larger Jewish cultural tradition. That requires some chutzpah.
Mort Weisinger had a problem. The executive in charge of National Periodical Publications’ (aka DC Comics) most prized property, Superman, was being called out by Albert Einstein. An MIT class had sent Weisinger a letter from Einstein, who said that no one, not even Superman, could fly faster than the speed of light.
No problem, Weisinger though. He convinced science fiction legend Isaac Asimov to draft a reply. “Professor Einstein’s statement is based on theory,” Asimov said. “Superman’s speed is based on fact.”
Comic book fans are often accused of having a fragile understanding of reality, but the flip side is that, aside from their otherworldly powers, superheroes have always been grounded in the real world. Why else would Einstein feel the need to play cosmological traffic cop with Superman?
The superhero comic book genre is built on an important conceit. Just as people who enjoy Broadway musicals need to take for granted characters’ tendency to break out in song and dance, so readers of comic books need to assume that their favorite heroes live in the real world.
It all began with Superman. The first superhero may be from another planet, but he grew up in a typical American town and lives in a typical American city. The only difference between Superman’s world and our world is the man himself.
The existence of utterly fantastic beings in an otherwise realistic world creates many paradoxes, and comic book writers have been dealing with them since Superman first took flight in 1938.
When the United States entered World War II each hero (through his or her writers) had to decide whether to enlist. DC’s near-omnipotent pantheon could have ended the war in five minutes, which presented a problem. That’s why most of the DC heroes stayed stateside; Clark Kent feigned poor eyesight to give Superman an honorable way out, while the Justice Society of America feared the corrupting influence of the Spear of Destiny.
DC’s rival Marvel Comics, created a hero specifically for fighting the Nazis. In his debut issue, Captain America socked Hitler in the jaw, a moment of catharsis for his Jewish creators whether it ruined the illusion or not.
Since then, comic books have tried to address real-world political issues, from racism in Green Lantern-Green Arrow to privacy and national security in Marvel: Civil War. Just like World War II, the trick to getting these political comics to succeed is acknowledging the problems of the real world without having superheroes intervene in a totally unrealistic way.
Since he has no powers, Batman is a popular candidate for an ultra-realistic treatment. In Batman: Year One, Frank Miller had Bruce Wayne go on a practice mission in street clothes, driving a stock Porsche instead of the Batmobile.
This approach helped inspire Christopher Nolan’s series of Batman films. Particularly in the first two movies, Batman Begins and The Dark Knight, plausible explanations are given for Batman’s methods and technologies, and those of this enemies. The Batmobile is a discarded military prototype, and the Batsuit is made of Kevlar body armor.
However, even Batman has his limits. No matter how realistic he appears to be, he’s still a vengeful billionaire skulking around in a cape and cowl, and that, unfortunately, does not exist outside of comics.
“Once a depiction veers toward realism,” Miller said, “each new detail releases a torrent of questions that exposes the absurdity at the heart of the genre.”
Giving a superhero a realistic environment and realistic equipment isn’t enough, which brings us back to the person under the mask, and on to the Marvel movie universe.
Marvel’s movies are not as focused on realism as Batman Begins, but they still strike fans as authentic. That’s because the characters themselves are realistic.
Wormholes may not be a convincing explanation for Thor’s arrival on Earth or his powers, but he reacts to everything the way a real person would. When confronted with the victorious Avengers, Thor’s brother, Loki, doesn’t shake his fist and twirl his nonexistent mustache, he just says, “I think I’ll have that drink now.”
That is the superhero conceit in action. The characters may be super soldiers, irradiated monsters, and gods, but they live in the same world as readers and viewers and thus act the same way.
That’s why the laws of physics don’t bother fans of Superman. His powers might be impossible, but he is not.
How do you update a legend? Comic book writers face this problem every day. Just as a user restarted a computer in the cartoon ReBoot to erase the destruction of a system/city, so comics creators must reboot their characters every few years to erase the effects of stagnation.
One year ago, DC Comics undertook one of the most ambitious reboots in comics history, changing everything from costumes to characterizations in a storm front of hype know as the “New 52.”
Since it’s been a year, and DC is about to undertake a second stage of revisions with its “Issue 0” releases, it’s interesting to look at what has worked, and what hasn’t.
One of the biggest changes was to characters’ costumes. DC replaced the tights with tougher-looking segmented armor and some more subtle tweaks, with mixed results.
Superman’s new costume looks pretty cool, but its backstory (it’s Kryptonian armor Superman finds on Brainiac’s ship that happens to be keyed to his genetic signature) is not.
Disconcertingly, Green Lantern only wears his new costume in Justice League; in Green Lantern, which is a continuation of the pre-New 52 series, he sticks with the old look. There is no way to keep track of all the different costumes Batman wears in his many titles.
DC may have advertised big changes in New 52, but many of them involved esoteric characters, as if DC was throwing everything it had against the wall to see what stuck. Deadman and Captain Atom will not return for a second year.
Some of the changes to the big names were less than epic, too. The Flash got a new art style, a new costume, and a new series that throws out most of Barry Allen’s resurrection-related angst for a lighter tone. Other than that, no major changes were made, although that doesn’t make the New 52 Flash series any less enjoyable.
DC did not completely forget its promise for newness, though. In fact, two of the best New 52 titles were completely unexpected. No one expected Aquaman to be good, but the character’s new attitude and streamlined origin make it one of the best comics titles out there. It got this writer to take Aquaman seriously.
Earth 2, launched in the second wave of New 52 titles last May, is a true reimagination of the DC Universe. On this alternate Earth, Superman, Batman, and Wonder Woman die fighting Darkseid, leaving completely new versions of Green Lantern, the Flash, and Hawkgirl to protect the planet.
So far, DC’s brave new world has been a mixed bag, and not quite as new as the company wanted us to believe. Still, a couple of solid hits like Aquaman and Earth 2 are worthwhile, even if the rest of the revisions don’t stick.
What qualities make up the perfect arch-nemesis?
Such a villain would have to be totally committed to a hero’s destruction, swearing to fight said hero until the end of time, and to dance on his or her corpse.
An arch-nemesis has to be powerful, too. They wouldn’t be very threatening if the hero could casually brush them off.
Who has all of these qualities? How about a corporation claiming copyright infringement?
Protection of intellectual property (IP) has become a major concern for corporations since the Internet made distributing information so easy.
People may be surprised when Viacom or Disney comes down on them for illegal downloads, but this is not the first time corporations have called in the troops to protect their copyrights. In fact, one superhero, Captain Marvel, has spent more time fighting lawyers than supervillains.
Captain Marvel made his debut in February 1940. Published by Fawcett Comics, Captain Marvel was a 14-year-old boy–Billy Batson–who transformed into a superhero by saying “Shazam,” the name of the wizard who gave him his powers. The Captain had super strength, and speed. He could also fly and summon lightning bolts.
Almost immediately, there was a problem. In 1941, National Comics (a.k.a. DC) sued Fawcett for copyright infringement, saying that Captain Marvel was a rip-off of Superman. After all, National argued, both were flying, dark-haired, strong men who wore tights and capes. The similarities end there (Clark Kent isn’t 14, nor does he get his powers from a magical wizard), but that was enough to convince a judge that Captain Marvel was an illegal copy of Superman.
However, Fawcett won the initial decision on a technicality: National had not copyrighted Superman newspaper comic strips, which constituted neglect, and invalidation, of the copyright. Fawcett was able to make their Superman “copy” because he was based on an un-copyrighted newspaper strip.
National appealed the decision in 1951, and the next year the United States Court of Appeals for the Second Circuit reversed the trial court’s decision.
Superman’s copyright was valid, Captain Marvel was in trouble.
Fawcett settled with National out of court, paying the owners of Superman $400,000 and agreeing to cease publication of Captain Marvel.
Some characters are too good to die, though. A few years later, Captain Marvel was recruited by his former foe.
In 1972, DC licensed Captain Marvel from Fawcett, gaining total control of the character when Fawcett eventually went out of business. This time, DC found itself facing a lawsuit over the Captain.
During Captain Marvel’s hiatus, Marvel Comics had made the obvious decision to create its own Captain Marvel.
Fawcett’s copyright on the name lapsed in 1966, so Marvel quickly created its own character and copyrighted the name. This version–Mar-Vell–was an actual captain in the Kree army. When DC tried to revive the original Captain Marvel, Marvel Comics sued it over the use of the name.
The result didn’t work out well for either party. DC was allowed to continue calling Billy Batson’s alter ego Captain Marvel, but it could not publish any comics using that name. To this day all of DC’s Captain Marvel comics are titled Shazam, and the company recently changed the character’s name to Shazam to avoid confusion.
Marvel’s Captain Marvel was never as successful as the original, but the House of Ideas needs to continue publishing Captain Marvel comics to maintain its copyright.
Today, Marvel has an unpopular character with a popular name (although the latest series with Carol Danvers as Captain Marvel is a great read), while DC has a popular character with no name.
The story doesn’t end there, though, because Captain Marvel had more (legal) battles to fight across the pond.
Fawcett reprints were sold in the United Kingdom until Captain Marvel’s cancellation, when publisher Len Miller decided to continue the series. In what was surely genuine copyright infringement, writer Mick Anglo turned Captain Marvel into Marvelman. This new version, a young reporter named Micky Moran, got his powers from science, instead of magic. He became Marvelman by saying “Kimota” (“atomic” backwards).
Due to pressure from Marvel Comics, the publishers changed Marvelman’s name to Miracleman. The renamed superhero was in the process of a complete overhaul, courtesy of Alan Moore (author of Watchmen and V for Vendetta) and, later, Neil Gaiman (creator of Sandman). In Moore’s apocalyptic revision, Miracleman’s deranged sidekick destroys London, and superheroes establish a totalitarian world state.
This darker version of Captain Marvel/Marvelman got a lot of praise from comic fans, but you won’t see it on any bookshelf. Even an atomically invigorated superhero can’t fight copyright lawyers.
Eclipse Comics, the company that published the Moore/Gaiman stories, went bankrupt in 1985.
Since 2002, Gaiman has been in a legal battle with Spawn creator Todd Macfarlane over the rights, even using all of the profits from Marvel:1602 on legal costs.
This story’s ultimate irony is that what started out as a fraudulent copy of Captain Marvel has become a disputed property in its own right.
In 2009, Marvel announced that it had acquired the rights to Marvelman, and is reprinting the old Mick Anglo stories. The ownership of the later Miracleman stories is still disputed. Captain Marvel’s arch-nemesis has struck again.
Copyrights are supposed to protect creators of art by making sure that their ideas cannot be stolen. In the case of Captain Marvel, they prevented those ides from being developed.
Captain Marvel/Marvelman/Miracleman/Shazam had the potential to be a really interesting character, but sometimes business gets in the way of art. Maybe DC’s next Shazam series will feature a villain in a three-piece suit, waving cease-and-desist orders.
UPDATED: Miracleman is back. Marvel will reprint the entire series, including Neil Gaiman’s previously-unpublished ending. The first issue hit comic stores January 15.
One of my favorite things about comic books is the way they glorify my chosen profession. Many superheroes pick up a camera or notebook after they put away their capes, taking to the fictional streets of America as journalists. Superheroes and journalism really go hand-in-hand, and it’s no accident. In fact, it’s all about realism.
A news reporter or photographer is the perfect secret identity for someone is always making news. If Clark Kent showed up every time Superman made an appearance, and din’t carry a press pass, people would get suspicious. As a reporter for the Daily Planet, Kent is expected to follow Superman around, so no one would ever suspect that he and the Man of Steel are the same person. The same goes for Peter Parker of the Daily Bugle. Of course he’s always around when Spider-Man swings into action! How else would he get those amazing photos?
Journalism also provides heroes with the resources they need to fight crime. Working for newspapers gives Clark Kent and Peter Parker access to information; they learn about crises first, so they can respond quickly. The Internet has made that less true (the “Miracle on the Hudson” was first reported via Twitter), but working for a major news organization is still important. Would Spider-Man be as effective if he had to read thousands of tweets by himself before getting some actionable intelligence?
One superhero, the Question, goes so far as to make journalism part of his modus operandi. As T.V. news reporter Vic Sage, he investigates criminal acts, exposing the corruption of Hub City in nightly broadcasts. Then, he takes to the streets as the faceless, trenchcoat-and-fedora-wearing Question to dispense justice.
Superhero journalists aren’t just reporters, either. The Green Hornet owns a newspaper, the Daily Sentinel and, like the question, uses journalism as a tool in his war on crime. Britt Reid publishes stories depicting his masked alter ego as a powerful mobster, spooking his enemies while concealing his true identity and intentions.
Journalism’s role as the “fourth estate” is wholeheartedly embraced by the creators of superheroes. The heroes are, after all, supposed to be real people with extraordinary abilities. They need day jobs that won’t conflict with their crime-fighting missions and, maybe, on a good day, Clark Kent’s reporting can do as much good as Superman’s crime-fighting.