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Jack Fisher’s Weekly Quick Pick Comic: Lois Lane #1

Every Wednesday, a new batch of comics enters this world in the never-ending effort to make it feel less hopeless. Fans like me take comfort and joy in reading stories about powerful superheroes using their immense abilities to pull off heroic feats. Many of these stories center around extraordinary individuals doing extraordinary things with power that few in the non-comic book world can comprehend.

Then, a comic like “Lois Lane #1” comes along and proves that heroic feats don’t need superhuman abilities. They just need a stubborn and unyielding commitment to the truth.

I admit that the idea of a Lois Lane comic didn’t seem all that intriguing. I also freely acknowledge that I’ve criticized how Lois has been utilized in recent years with respect to the larger Superman mythos. Those criticisms aside, I don’t deny the importance of her character. She is still an integral part of Superman’s world, as well as the larger DC universe.

Lois Lane #1” doesn’t change that role, nor does it attempt to radically alter who Lois is. It just takes some time to focus on what she does, why she does it, and why it’s such a critical component of truth, justice, and the American way. You could even argue that those ideals are more critical now than they ever have been, which means Lois Lane’s story carries a weight beyond being Superman’s love interest.

Writer Greg Rucka, who has considerable experience writing DC’s strongest female characters, builds an entire story around Lois Lane exercising her expert reporting skills. On the surface, it may not sound as exciting as watching Superman punch meteors out of the sky, but the underlying themes of the story go beyond just saving the day.

Those looking for another story about Lois needing to be rescued by Superman again will probably be disappointed by “Lois Lane #1.” However, those hoping to see someone pursue justice in a way that doesn’t require Kryptonian biology are in for a treat. Superman may be the personification of truth, justice, and the American way, but it’s Lois Lane who proves you don’t need powers to fight for it.

The story is a potent mix of a spy thriller and a mystery built around headlines that are all too real to anyone with a news feed. Yes, there are plenty of super-villains in the DC universe looking to destroy whole worlds and rip apart the fabric of reality. At the same time, there are smaller-scale forms of injustice and those are the battles Lois fights.

In this case, her fight takes her to Russia, a place not known for press freedom. She has a story that won’t defeat Darkseid, but it will expose the corruption, injustice, and lies that plague her world as much as ours. While Superman is still in the story, he actually plays no part in helping her navigate this battle. In this particular battle for truth, Lois is on her own and she proves she’s capable without superpowers.

In fact, for the truth she seeks, superpowers aren’t that useful. Exposing corruption and lies is never a matter of how many meteors or parademons you can punch. Lois is a reporter. She needs information, sources, and connections. These are not things you can punch or magically conjure. Rucka has Lois rely almost entirely on her reporting skills rather than her intimate relationship with Superman.

Those reporting skills might as well be superpowers. Lois isn’t just dedicated to finding the truth. She’s determined. She willingly puts herself in danger to find the information she needs. While this usually means Superman has to rescue her at least once a week, that’s not the case here.

Lois Lane #1” shows that it is possible for Lois to navigate that danger without calling on her super-powered lover. After reading this comic, you feel as though this sort of triumph doesn’t happen often enough, both in the real and fictional world.

Throughout her history, Lois Lane has been a tricky character to develop. She’s so defined by her relationship to Superman that it’s difficult for her to stand on her own. Being a side-kick or a love interest tends to define a character more than what they actually do in a story.

Lois Lane #1” doesn’t try to subvert or redefine her lengthy history. She’s still very much Superman’s love interest. She still plays a vital role in his story. However, this comic makes the case that Lois can carry her own story, as well. Rucka, along with the art of Mike Perkins, demonstrate that she can pursue truth and justice on her own. For someone who needs to be rescued so often, it’s both refreshing and overdue.

While Lois Lane will never be an iconic female hero on the same level as Wonder Woman, she embodies many of the principles that heroes of all kinds fight for. They readily protect the innocent and defend justice with their immense powers, but Lois Lane demonstrates why those principles matter.

 

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Jack Fisher’s Weekly Quick Pick Comic: Superman: Year One #1

Every Wednesday, comic fans like me rejoice at the prospect of enjoying a nice stack of new books to start the day. While not every stack is full of epic sagas that leave readers with lifelong memories of pure awesome, there are some that stand out more than others. When one comic in that stack is written by Frank Miller, it’s usually an event that comic fans remember for the rest of their comic-loving days.

If you don’t know who Frank Miller is, then trust me when I say that his name carries a lot of weight in the comic book community. There’s Stan Lee. There’s Jack Kirby. There’s Alan Moore. Most people know those iconic names and the place they have in pop culture. Talk to most well-read comic book fans and they’ll agree. Frank Miller deserves to be in that special class of writer.

This is someone whose work was a true paradigm shift for the medium. His work in the 1980s changed the way people approached superhero comics. It’s not unreasonable to say that Miller is one of the most influential comic writers of the past 40 years. If you want to understand the power of that influence, then “Superman: Year One #1” should get the point across.

This is not a comic that requires a working knowledge of DC Comics’ current continuity, which has been subject to some messy upheavals over the past 10 years. You don’t even have to know anything about Superman to appreciate “Superman: Year One #1.” This is one of those rare books where anyone who has never touched a superhero comic can just pick it up, follow along, and understand the breadth of the story.

This comic, which is printed under DC’s more mature Black Label banner, is not a radical re-telling of Superman’s origins. If you know the basics or have just seen a few Superman movies, then you won’t see anything too shocking. That said, “Superman: Year One #1” brings something new, compelling, and revealing to the table.

There any number of stories about Clark Kent’s formative years, from origins comics to the “Smallville” TV series. Many go to great lengths to show how and why Clark becomes Superman. However, Miller’s approach to “Superman: Year One #1” is a bit different.

The story is less about Clark becoming a hero and more about how he finds his place in the world. He’s not a hero yet. The thought hasn’t even crossed his mind. He’s just a kid for most of the story, navigating his life and trying to figure out where he fits in. His emerging powers are secondary, for the most part.

There are times when Clark is overwhelmed. There are even times when he’s uncertain. One of Superman’s most defining traits is his inclination to do the right thing just because it’s the right thing. That’s what makes him the hero by which all others are measured. In “Superman: Year One #1,” he doesn’t know what the right thing is yet, but he’s eager to find out.

In addition to the emergence of Clark’s morality, Miller also explores his influences and his supporting cast. His parents, his peers, and his first love interest, Lana Lang, all get a chance to play a part in his story. They don’t just give him advice or put him in challenging situations, either. Miller gives them all a personality.

Their voices feel distinct. Their impact on Clark feels unique. They help nurture his humanity more than any aspiring superhero. Both Lana and Martha have powerful moments that reveal why they’re so critical to Clark’s journey. Some of those moments, namely the one with Lana, aren’t the kind that would make it onto kid-friendly movie or Saturday morning cartoon, either.

Miller does take advantage of DC’s Black Label, injecting some more mature themes into the story. However, he never pushes it beyond a certain point. Compared to what happened withBatman: Damned #1,” Miller keeps things relatively balanced. That doesn’t stop “Superman: Year One #1” from feeling like a more mature Superman story.

This is a story where Clark Kent gets to be a kid who just happens to develop amazing powers. It’s a story where he doesn’t fight invading aliens, mad scientists, or hulking monsters. The biggest fight he has involve a group of high school bullies who saw one too many 80s teen movies.

The stakes are small. Clark doesn’t need to save the world at this point in his life. He just has to save a few people and navigate through a few personal situations. While that doesn’t make for the kinds of epic battles that Superman tends to fight every other day, it’s because of this smaller scope that the story feels more personal.

Before Clark can learn to save the world, he has to start by saving Lana Lang from being assaulted. Before Clark can battle Braniac, Lex Luthor, and Doomsday, he has to learn how to take down a group of bullies without causing too much damage. Not everything comes easily, even for someone of his immense power. That’s exactly what makes “Superman: Year One #1” so compelling.

Miller allows Clark to struggle and learn. The artwork of the amazingly talented John Romita Jr. helps give that struggle the perfect aesthetic. Even when he slips up, things never get too dark or angst-ridden. For Miller, the same man who wrote one of the darkest Batman stories of all time, it’s a critical, yet necessary change.

While it’s too early to say whether “Superman: Year One #1” becomes as iconic and well-regarded as Miller’s other work, it succeeds in demonstrating why his approach to superheroes is so iconic. It’s not enough to simply tell the story about how the hero wins the day against impossible odds. Miller highlights the person beneath the heroic icon.

Clark Kent is Superman. Superman is Clark Kent. The identities are often interchangeable, but they’re only names and titles. At the end of the day, there’s still a person within that iconic costume and his story is worth exploring. Under the pen of Frank Miller, that story is in good hands.

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Jack Fisher’s Weekly Quick Pick Comic: Wonder Woman #71

Once a week, comic book fans rejoice as pencil, ink, and imagination come together to bring us a batch of new comics. Whether they involve superheroes, gritty crime drama, sappy romance, or talking ducks in ties, great comics take many forms.

As someone who awaits every Wednesday like Christmas, I make it a point to select one comic from this crowded field that helps make the day feel uniquely festive. It doesn’t always involve superheros gods, demigods, and talking animals. This week, however, that’s exactly what “Wonder Woman #71” contains. That’s not an exaggeration. This comic contains all of that, along with a uniquely impactful story.

The Wonder Woman comics have always been more fanciful than most, even without its former allusions to BDSM. When Wonder Woman isn’t fighting alongside the Justice League or going toe-to-toe against cosmic threats like Darkseid, she often deals with the divine mischief caused by her divine heritage. Since the arrival of writer, G. Willow Wilson, there has been plenty of mischief to go around.

For the past few issues, Diana has been investigating some decadent happenings in a small town called Summergrove. At first, it doesn’t look quite as dire as some of the other godly influences that Wonder Woman has dealt with. The people of this typical community have just become a bunch of free-wielding hippies, randomly pursuing every decadent desire that enters their mind, among other things.

It’s not quite as pornographic as it sounds. Wilson manages to keep things PG-13, for the most part. However, the free loving and utter disregard for Western propriety are just part of the issue. This major disruption in a community not used to public nudity isn’t due to some sudden realization that Puritan traditions are asinine. It’s a direct result of Atlantiades, the god of lust and desire.

Aside from being the offspring of Aphrodite, as well as the kind of deity that aspiring erotica/romance writers could worship, Atalantiades presents a unique challenge to Wonder Woman. Yes, she’s causing real harm to innocent people and their families by exercising her divine power, but she’s not doing it directly, nor is she doing it out of malice.

She is, like many gods in both the world of DC Comics and beings of mythology, unaware of how her power influences frail mortal minds. She doesn’t see ordinary humans with the same care and concern as Wonder Woman. Whereas Diana respects and protects them, gods like Atalantiades pity and manipulate them.

It puts Wonder Woman in a tricky position of convincing Atalantiades that what she’s doing to the people of Summergrove is wrong. The past couple issues have steadily revealed how bad things have gotten. Families are being torn apart and the community is collapsing around itself as people just abandon their responsibilities and ignore all consequences to their action.

It may seem fun, but even the most free spirit of individuals can’t avoid consequences. That’s what it means to be human. However, Atalantiades and the rest of her divine brethren don’t understand that the way Wonder Woman does. Their divinity means they don’t have to deal with the same consequences. They only have to worry when those consequences impact other gods.

That’s another lesson that Atalantiades has to learn the hard way. While Wonder Woman helps her deal with the damage she did to Summergrove, her activities obscure another emerging conflict centered around her mother, Aphrodite. This conflict has higher stakes and greater consequences, mainly because it involves unleashing a mythical beast.

It’s this culmination of consequences that helps “Wonder Woman #71” stand out. There are plenty of stories that involve Wonder Woman fighting mythical beasts and protecting people from unholy manipulations. However, she ends up having to do both here and she can’t resolve both solely through fighting.

Wonder Woman can do a lot of incredible feats, but she doesn’t absolve people or gods of consequences, nor would she if she could. She can’t fight Atalantiades or the people she has influenced, but she can convince her to take responsibility. That’s not as easy as a simple scorn or lecture, but it does make for some revealing exchanges.

Wilson, like many other accomplished Wonder Woman writers, explore the unique and strange perspective of divine beings like Atalantiades. That’s understandable because they’re not mortal. They don’t see mortality, desire, and consequences the same way an ordinary person in the suburb sees it. In many respects, it reveals just how unique Wonder Woman is because she goes out of her way to relate to ordinary people.

Atalantiades makes clear that she doesn’t see love and desire the same way as Diana. Throughout this story arc, even other gods like Aphrodite go out of their way to denigrate Diana’s perspective on matters of love and mortals. She sees it as something empowering and intimate. They see it as something chaotic and corrupt.

Wonder Woman #71” doesn’t entirely resolve that argument, but it does make a compelling case for each side. Atalantiades demonstrates what happens when love and desire run rampant. It’s sexy and even humorous, at times, but it’s also flawed and Wonder Woman helps belabor that.

As more consequences of Atalantiades’ actions play out, Wonder Woman has a chance to make her point in other, more direct ways. This is also where the artwork of Tom Derenick and Xermanico get more vibrant as divine debates turn into divine clashes. It helps highlight how strong Wonder Woman can be with both her words and her fists.

Wonder Woman #71” is not the endgame of this larger story surrounding Atalantiades and Aphrodite, but it is definitely the most dramatic. Wilson explores some pretty heavy topics in this story, touching on gods, love, and the frail mortal beings that get caught in the crossfire. It puts Wonder Woman in some difficult situations in which her compassion has to be as strong as muscles.

As always, she rises to the occasion and inspires more awe and wonder in the process. That’s what makes her Wonder Woman.

 

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Jack Fisher’s Weekly Quick Pick Comic: DCeased #1

It’s Wednesday and for comic book fans, it’s basically a holiday that doesn’t require decorations, greeting cards, or annoying commercials. Every week brings something new and with many people still recovering from the impact of “Avengers Endgame,” myself included, the world needs something to help us move forward.

With that in mind, this week’s quick pick offers something that is the dramatic antithesis of a bittersweet ending to an 11-year movie franchise. “DCeased #1” is not the kind of story that will lift your spirits or trigger tears of joy. It’s a different kind of story that seeks a different impact and, much like “Avengers Endgame,” it succeeds.

The story does not build heavily on recent events in the world of DC Comics so if you haven’t kept up, you won’t be too lost. It’s very much a self-contained story that takes a particular concept that’s unique to the DC Universe and twists it in ways it has never been twisted. The results are brutal, terrifying, and a sight to behold, albeit a morbid one.

Writer, Tom Taylor, has a rich history of taking certain concepts within the superhero genre and re-imagining them in new, compelling ways. He did it with his criminally underrated run on “Superior Iron Man” and “DCeased #1” definitely has traces of those themes.

It starts with something familiar. The Justice League has once again defeated Darkseid. In terms of standard operating procedures in the DC Universe, that’s akin to paying your taxes or getting your driver’s license renewed. However, this typical triumph isn’t the end of the story. It’s just the beginning and it gets very dark, very fast.

At first, it has all the makings of another elaborate plot by Darkseid. He’s always had plenty of that. Being a god-like bringer of death and destruction, he always seems to have something going on and never lets defeat by the Justice League hold him back for long.

Then, his plan goes horribly and shockingly wrong. I won’t spoil the details, but what happens to Darkseid, and later everyone on Earth, strikes at the foundation the DC Universe. Like many other superhero comics, there are a special brand of physics in play, many of which would make Einstein’s head explode. However, when those physics are defied or subverted, bad things tend to happen and this might be the worst.

This isn’t the kind of impact that gives an all-powerful, obscenely-evil character like Darkseid an insane power boost. This is something that torments even the most villainous beings as much as its most virtuous heroes. Gods, demigods, aliens, Amazons, billionaire playboys, and even average people on the street are all equally vulnerable.

For once, there’s no evil figure to fight. There’s no devious villain to outwit or overpower. This is a force of nature that hits anyone and everyone. It’s akin to gravity, light, or taxes. Nobody can escape and nobody is immune.

While the concept of “DCeased #1” may seem like apocalyptic disaster porn, its dramatic structure keeps it from getting too gratuitous. Taylor demonstrates a refined understanding of how certain concepts work in the DC Universe and artwork by James Harren and Tervor Hairsine give rich details to some bleak undertones. Taken together, it creates a dark story that has just the right impact.

Whether you follow the comics or only watch big budget superhero movies, it’s easy to get caught up in the standard tropes of superheros. We expect them to fly in, save the day, or even undo the damage if things get too bad. There are any number of stories like that, especially in the DC Universe. That’s why a story like “DCeased #1” can be so refreshing, even when it deals in such dark themes.

This isn’t a case where we can expect the mightiest heroes in DC to save the day, smile for the cameras, and go back to their lives as mild-mannered reporters. This is a devastating cataclysm for which there is no going back. There’s a uniquely surreal impact to watching this world of mighty superheroes succumb. It’s not just different for the sake of being different. It shows us a different aspect of these characters and this world.

We all know what happens when superheroes save the day. Most people have seen that story in some form or another at some point in their lives. “DCeased #1” dares to ask what happens when superheroes can’t save the world. It’s not that they fail. Technically, they’re not even defeated in the mold of Darkseid beating up Superman. Things just go horribly wrong due to forces beyond their control.

In a world full of god-like super-beings from various planets and universes, this level of destruction has quite an impact. Beyond being the antithesis of the classic hero-saves-the-day narrative, “DCeased #1” presents a story that requires these heroes to reveal a different side of themselves. We know how they are when they’re at their most triumphant. Now, we get to see who they are when all hope is truly lost.

It’s a story worth telling and, if your heart and soul can handle it, “DCeased #1” takes the first step in this utter deconstruction of the DC Universe. It’s a dark, grim sight to behold, but one that brings some welcome novelty to superhero comics.

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Shazam! Review: A Simple Formula For Maximum Fun

shazam

When a particular genre becomes over-saturated and overdone, it’s tempting to try and reinvent the concept in hopes of striking a new chord. It’s especially tempting when so many others have risen the bar to such an insane extent that success can only be measured in billions instead of millions.

It would’ve been easy for a movie like “Shazam” to give into such temptation. With the recent success of “Aquaman” and “Avengers Endgame” set to break all sorts of box office records, it seems like this movie has to do something extreme, just to stand out. How else would it succeed in such a crowded market in a golden age of superhero movies?

That was my greatest concern before I saw “Shazam.” As much as I loved the trailer, I was worried that this movie would try so hard to stand out that it would overlook the part of actually being a fun cinematic experience. That sort of oversight has been plaguing the DC Extended Universe since “Man of Steel.”

This picture sums up the issues nicely.

Well, having seen the movie, I’m happy to say that none of those concerns were founded. In fact, I’m elated to report that “Shazam” is another big win for DC Comics and superhero movies, as a whole. However, it didn’t win because it reinvented the genre or did something radically different. It won because it followed the basic formula for quality superhero movies and had fun along the way.

It helps that the core appeal of Shazam, as a character and superhero, is that it approaches heroics with a childlike playfulness. Billy Batson, the alter ego of the titular hero, is not some jaded adult like Batman. He’s not even a boy scout idealist like Superman. He’s just a kid and one who got dealt a bad hand, for that matter. Being both an orphan and a troublemaker, he sees the adult world through very different eyes.

That’s a novel perspective, to some extent. Every other superhero movie, even going back to the era of Richard Donner’s “Superman,” has framed the idea through an adult lens. It always starts out as something simple. An individual gets superpowers, they start carrying out simple acts of heroism, and those acts eventually get complicated, as often happens with adult issues.

With a character like Billy, things never get that complicated. Again, he’s a kid. Even in his heroic form, he sees conflict with a childlike simplicity and “Shazam” captures that simplicity perfectly. The movie doesn’t deviate much from the details and themes of the source material. Concepts like the Rock of Eternity and the Seven Enemies of Man are present and accurately portrayed.

Such details may not matter to those unfamiliar with the comics, but such accuracy is largely a bonus. What really makes this movie work is how it follows Billy’s journey and not just the one he undergoes as a hero. His evolution when he’s not a magically-endowed superhero is arguably the most meaningful aspect of the story.

When we first meet Billy, it’s hard to discern whether he has the spirit of a hero. He’s no upstanding boy scout. In fact, he’s very much a troublemaker who’s willing to thumb his nose at police, break the rules when it benefits him, and run away from anyone who tries to help him. However, he never comes close to crossing that might send him down a darker path.

It’s that trait that sets him apart from his villainous counterpart, Dr. Sivana. While he’s no Thanos, he demonstrates that he’s a lot like Billy in a few key aspects. He’s given a chance to become a hero, but is unable to refuse the temptation that often comes with immense power. That failure haunts him and pushes him down a darker path.

For a time, it seems as though Billy could walk a similar path. When he first gets his powers, he reacts in ways that most would expect of a 14-year-old boy. He tries to buy beer. He tries to make money. He even ventures into a strip club. It’s hilarious and cute, but it also establishes the perfect tone for a movie that avoids complicating the standard superhero narrative.

Within that narrative, there’s a hero who makes choices and learns from his mistakes. There’s also a villain who makes choices and refuses to learn from them. When they eventually clash, it’s a flashy spectacle with simple, understandable stakes. It’s no Battle of Wakanda, but it doesn’t have to be.

The look of someone who DIDN’T get to work with Josh Brolin.

From the moment he first gets his powers to the final showdown with Dr. Sivana, Billy develops into his own hero, but never loses his childlike mentality. He’s not forced to grow up too fast, nor does he have to abandon the civilian life he’s trying to establish. Whereas being Bruce Wayne is often an inconvenience for Batman, being Billy Batson is necessary for Shazam.

This shows in the seamless characterization provided by Asher Angel, who plays young Billy, and Zachary Levi, who plays Shazam. At no point does either manifestation feel like a different character. They both wield the same childlike charisma as they navigate their superhero journey. The same lovability that made Levi so great in shows like “Chuck” help him and Angel bring out the best in Billy Batson.

When the movie begins, it’s not clear that Billy has what it takes to be a competent hero. Trying to determine his worth is like trying to determine if some random 14-year-old will one day play in the NFL. The odds are against them, but the potential is still there. By the time the credits roll, the message is clear. Billy has the spirit that Shazam was looking for and you can’t help but root for him.

At its core, “Shazam” checks all the right boxes for the classic hero’s journey. Billy Batson is perfectly poised to take that journey and not just because he’s one of many orphans who become superheroes. The movie doesn’t try to subvert these tried and true tropes. If anything, it embraces them and dares to have a little fun along the way.

It’s easy to share in that fun. The humor is exactly what you would expect of a movie that involves 14-year-olds getting superpowers. It’s serious when it needs to be, but never too serious. Given the grim and gritty settings of other DC Extended Universe movies, it’s a breath of fresh air that the superhero genre badly needed.

It’s not without its flaws. Some details of Billy’s life are underdeveloped and glossed over. There were also inconsistencies with Dr. Sivana as well, but none were egregious to the point where they derailed the movie. It simply stuck to a simple formula, mixed in a few twists along the way, and made the most of what it had to work with.

If I had to score “Shazam,” I would give it an 8 out of 10. It didn’t reinvent superhero movies or raise the bar. It was simply a fun, entertaining movie that gave a character with little star power a chance to shine. It even managed to accomplish all this without trying too hard to make him like Batman. For a DC Comics movie, that alone is a major accomplishment.

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Jack Fisher’s Weekly Quick Pick Comic: Detective Comics #1000

Every Wednesday, a new batch of comics enters this world and makes it a little more awesome. However, it’s not every week that an iconic character achieves an incredible milestone that only one other superhero comic has achieved to date. There aren’t a lot of characters who could hope to achieve such ratified status, but if ever there were someone equipped for that journey, it’s Batman.

Today will likely go down in history as one of Batman’s greatest triumphs and he achieves it without the aid of Christopher Nolan. That’s because on this day, Detective Comics #1000 came out. Beyond just being a landmark issue that celebrates the legacy of Dark Knight, this comic helps remind superhero fans of every generation why Batman has endured.

From the triumph of “The Dark Knight” to the lasting damage done by Joel Shumacher, Batman has navigated many eras over the years. However, like Superman and Wonder Woman, he has never deviated far from his core persona. He’s a detective, a symbol, and a personification of vengeance against egregious injustice. No matter the time, place, or culture, there’s always room for that kind of crusade.

Detective Comics #1000 helps affirm that by telling a collection of short stories by some of DC Comics’ top writers. None of these stories really tie into one another and they don’t have to. It’s just not possible to capture the breadth of Batman’s legacy in just one story, no matter how many members of his iconic rogues gallery enter the picture.

Instead, each story is crafted in a way that helps capture a critical element of Batman’s never-ending crusade. A story by Scott Snyder helps highlight Batman’s unparalleled detective skills. A story by Warren Ellis highlights Batman’s ability to strike fear in criminals. A story by Christopher Priest show show Batman’s humanity is as strong as any one of his skills.

Each story carries its own weight, in terms of drama and impact. They present some of Batman’s best traits alongside his greatest weaknesses. They never give the impression that Batman is too powerful or too capable. At the end of the day, he’s still human. He has very human vulnerabilities and not just compared to the heavy hitters of the Justice League.

Beyond not being bulletproof, there are many instances that show he’s still someone who was deeply scarred as a child. The murder of his parents still haunts him. There are times in which he fails to cope with it, as nicely shown in a story by Denny O’Neil. At the same time, however, that loss and the pain it causes still drives him to be Batman.

In many respects, Batman is more true to his persona than Bruce Wayne. If anything, Bruce Wayne is the real mask. When he’s not wearing his cowl, he has to be someone else. He has to give the impression that he’s a successful, functional adult who got over the murder of his parents long ago. That has never been the case for Batman.

After 1,000 issues of Detective Comics, it’s abundantly clear that Batman does not see injustice the same way others do. People suffer tragedy and injustice all the time, both in the world of superhero comics and in the real world. Most people are content to let the authorities and the justice system deal with it. Batman isn’t most people.

In his world, the crime-ridden metaphor that is Gotham City, the authorities are corrupt and the system is flawed. Unlike people of lesser means, he’s in a position to actually do something about injustice. As Bruce Wayne, he can help improve the economy of the city. As Batman, though, he can make it so other children don’t have to watch their parents die.

It’s a powerful message full of powerful themes. They’re as relevant today as they were 80 years ago when Bob Kane and Bill Finger first created Batman. Injustice and tragedy know no single time, race, culture, or gender. They affect everyone and Batman stands on the front lines to fight it.

More than anything else, Detective Comics #1000 reminds us of why we want Batman on the front lines of that crusade. He’s capable of confronting the worst of the worst in terms of criminals. He’s also compassionate enough to understand and empathize with those who have been affected by injustice. It’s how he’s able to recruit and inspire others like Robin, Nightwing, Batgirl, and Catwoman.

Over the years, he’s even managed to carve out an extended Batman family, of sorts. It’s not the same as the family he lost, but an incredibly touching story by Tom King and Tony Daniels shows just how much it means to him. It helps give balance to someone who can be a hardened crime-fighter one moment and a caring friend the next.

Not all the stories in Detective Comics #1000 are so serious and dramatic. The story by Paul Dini provides some colorful humor that shows that even the gritty world of Batman isn’t prone to a few absurdities. Batman himself doesn’t deny this. He just embraces and accepts it as part of his never-ending crusade.

It’s hard to imagine any crusade lasting 1,000 issues and spanning eight decades, complete with campy TV shows and genre-defining movies. The universal nature of Batman’s crusade against injustice helped fill those issues with so many iconic moments. This landmark issue shows why that crusade is poised to endure another 1,000 issues.

The struggle never ends, but he never gives up. He can’t and he won’t. He’s the goddamn Batman.

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The Secular Theology of “Lucifer” (The TV Show)

lucifer

What happens when you die?

Does our consciousness live on in some form?

Is there a way in which people who escaped punishment in life ultimately face it in death?

These are distressing, but profound questions that form the backbone of nearly every major religion. From the major Abrahamic faiths to the lore of ancient civilizations, there are many ways to approach this question. We all contemplate our mortality at some point and wonder/dread what will happen after our mortal bodies fail us.

Even some non-believers have mused about it at some point. Whereas religion tends to speculate wildly on the possibilities, an secular view of the afterlife isn’t too different from how it views deities. In the same way there’s no evidence for any gods or supernatural forces, there’s no evidence that consciousness exists outside the human brain.

That’s what makes the recently-canceled, but saved by Netflix show, “Lucifer,” such a compelling contributor to this age-old question. Beyond Tom Ellis flexing his uncanny charm, the show achieves something remarkable in how it approaches gods, angels, demons, and the afterlife. I would even go so far as to say that it crafts a theology that affirms secular values over those of any religion.

By that, I don’t mean that “Lucifer” glorifies atheism or non-religious worldviews. If anything, one the show’s common themes is that glorifying any worldview is pointless. It’s surprisingly balanced in how it portrays religious and non-religious characters. The show contains respectable believers like Father Frank Lawrence and deplorable non-believers like Jimmy Barnes.

When it comes to addressing those age-old questions about deities, the afterlife, and morality, though, the show crafts a mythos that doesn’t play favorites. In the world of “Lucifer,” it doesn’t matter whether you’re a Christian, Muslim, Scientologist, Buddhist, or Pastafarian. Your life and your afterlife are subject to the same standards.

To understand those standards, it’s necessary to understand the influences of the show. Before Tom Ellis put on an Armani suit, the story of Lucifer Morningstar emerged in a the critically-acclaimed graphic novel, “The Sandman.” Even if you’re not a comic book fan, I highly recommend this book. There’s a good reason why it’s in Entertainment Weekly’s 100 best reads from 1983 to 2008.

While there are many differences between this comic and the TV show, the core tenants are the same. Lucifer Morningstar once ruled Hell, but decided to abandon that role and set up shop in the mortal world. Much like Tom Ellis’ character in the show, this version of Lucifer resents the stereotypes and misunderstandings surrounding him.

He’s not the source of all evil. He’s not the Lord of Lies, either. In fact, Lucifer has his own personal code of conduct and chief among that code is not lying. It goes beyond just telling the truth, though. Lucifer doesn’t sugarcoat anything, nor does he tell only part of the story. He tells the truth in the clearest, harshest way possible.

The show captures many of these elements. In the first episode when he meets Detective Chole Decker, he says outright who he is and isn’t coy about it. While she doesn’t believe he’s the actual devil, he sets a similar tone in how wields the truth. He’s not afraid to shove it in peoples’ faces and let horrifying realizations do the rest.

That emphasis on hard truth, both in the show and the comics, closely mirrors a secular approach to reality. It doesn’t matter how strongly you believe or don’t believe in something. The truth doesn’t change. People can spend their entire lives avoiding it, making excuses or crafting elaborate mythologies.

Whether someone identifies as atheist or agnostic, the premise is the same. If there’s no verifiable evidence, then you can’t say something is true. That leaves a lot of uncertainty about the nature of life, the afterlife, and everything in between. For many people, that’s just untenable and that leads to all sorts of contemplation and speculations.

It only gets worse when there’s considerable evidence to the contrary, which those who cross Lucifer often learn the hard way. While the comics touch on this to a limited extent, the show is much more overt. It often occurs when Lucifer flashes his true form to others. Most of the time, their reaction is one of unmitigated horror and understandably so.

These people, whether they’re cold-blooded killers or schoolyard bullies, just got a massive dose of exceedingly heavy truth. They just learned that the devil is real. Hell is real. Angels, demons, and deities are real. That also means it’s very likely that there’s some form of life after death. For those who have done bad things, that’s a genuinely terrifying prospect.

The details of that terror are explored throughout the show, especially in the first and second season. It’s here where the show distances itself from the fire and brimstone of the Abrahamic faiths. It even differs considerably from the hellish visions of Eastern religious tradition. To some extent, it takes the ethical concepts of secular humanism and crafts a prison around it.

That prison doesn’t involve pitchforks, fire, or monsters who chew on the souls of history’s greatest traitors. In the divine world of “Lucifer,” Hell is dark domain in which the souls of sinful mortals are punished for the misdeeds they committed in life. How that punishment plays out varies from soul to soul.

In the first season, Malcolm Graham spends a brief time in Hell, relatively speaking. He describes it as a place that takes everything someone loves and uses it to torment them. In his case, he freely admits that he loves life. As such, he is starved and isolated so that he cannot experience it or its many joys. It’s an extreme form of solitary confinement, which is very much a form of torture.

On top of that, time flows differently in Hell. Even though Malcolm wasn’t there for very long, he conceded that 30 seconds felt like 30 years. That doesn’t necessarily mean it moves slower, though. Time is simply a tool with which to ensure the effectiveness of the punishment. Lucifer, himself, finds this out in Season 2, Episode 13, “A Good Day To Die.”

For him, time becomes an endless loop of sorts. In that domain, he continually relieves the moment he kills his brother Uriel, one of the few acts in which Lucifer feels genuine regret. It keeps on happening again and again, evoking the same anguish. It’s like the movie “Groundhog Day,” but one in which people constantly relieve the worst day of their life.

These kinds of punishments are certainly worthy of Hell. They’re harsh in that they’re customized torture that’s specific for every damned soul. It’s a lot more flexible than the elaborate Hellscape described in “Dante’s Inferno.” However, there’s one important aspect to this punishment that puts it into a unique context.

The specifics are revealed in Season 3, Episode 7, “Off The Record.” Lucifer reveals to Reese Getty that the devil isn’t the one who decides which souls end up in Hell. No deity decides that, either. Ultimately, it’s the individual who makes that decision, albeit indirectly.

When humans transgress in the world of “Lucifer,” there’s no cosmic judge keeping track of their misdeeds. What sends them to Hell is the weight of their own guilt. Even when they pretend they don’t feel it, like Malcolm Graham, it’s still there. They’re just ignoring it or avoiding it. When they die, though, it ultimately comes back to weigh them down.

This means that punishment in Hell isn’t technically eternal, which I’ve noted is critical if the concept is to have any meaning whatsoever. Lucifer even says in the same episode that there’s no demon army guarding the gates of Hell. The doors are opened and unlocked. Those damned souls are free to leave, but they never do. It’s their own choices, guilt, and regret that keeps them damned.

That means the deeds that send people to hell are subjective and contextual. It’s an outright rejection of the universal morality that many religious traditions favor and an affirmation of the more nuanced ethics espoused by secular humanism. Both the morality and the theology of “Lucifer” depends heavily on the situation, intent, and consequences of someone’s action.

In the world of “Lucifer,” a priest and a porn star can both go to Heaven. It’s strongly implied that Father Frank Lawrence went to Heaven after his heroic actions in “A Priest Walks Into A Bar.” It’s also implied in “City Of Angels?” that there’s a distinct lack of porn stars in Hell due to all the good works and joy they bring to people in life.

At its core, “Lucifer” frames damnation as an underlying consequence of individual actions. Everything begins and ends with the individual. What they do, why they do it, and the consequences they incur are primary criteria for how souls spend their afterlife. In both the comics and the TV show, Lucifer is a champion of individual choices and all the implications that come with it.

This emphasis on the individual effectively tempers the influence of any deity or supernatural force. Even though gods and angels exist in the world of “Lucifer,” they don’t make choices for anybody. Granted, they can have major influences, as shown in episodes like “Once Upon A Time.” At the end of the day, it’s still the individual who is ultimately responsible.

This secular approach to theology works because individual actions are the only deeds we can truly quantify. It creates criteria under which neither atheists nor believers have any clear advantages. How they live their lives and how they go about making choices is what determines whether they face punishment after death.

It still has some problems that the show has yet to address. It doesn’t indicate how Hell handles people who are incapable of feeling guilt or otherwise mentally ill. It also doesn’t reveal how Heaven differs from Hell, although Lucifer implied to Father Frank that it’s more boring than Hell. Hopefully, that’s just one of many other themes that get touched on in Season 4.

Whatever the flaws, the unique take on theology and morality give “Lucifer” a special appeal for both believers and non-believers. It presents a world where those profound questions I asked earlier have answers. No one religion got it right and atheists aren’t at a disadvantage for not believing. That may not sit well with some, but it affirms a brand of secular justice that judges every individual by the choices they make.

More than anything else, Lucifer Morningstar is a champion of deep desires and hard truths. He opposes anyone who tries to dictate someone’s decision or fate, be they a devil or a deity. People who do bad things are ultimately punished, but not by him. In the end, he really doesn’t have to. An individual is more than capable of creating their own personal Hell.

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