Tag Archives: Justice League

A Simple Comment On The Criticism/Whining On “Birds Of Prey”

Sometimes, a movie just fails to find an audience.

It’s not because of some larger social agenda that backfired horribly.

It’s not because of some huge backlash caused by misguided marketing strategies, either.

Most of the time, the world isn’t that fanciful. It’s just chaotic, unpredictable, and messy. No matter how much a movie, TV show, or product attempts to appeal to a broad audience, it can just fail. That’s all there is to it.

Trying to fit an agenda into that failure is like trying to build a conspiracy around why you’re stuck in traffic. The world isn’t out to get you or people like you. Most of the time, shit just happens and you’re just caught up in it. That’s not to say that agendas never squeeze themselves into the media. It happens, but it’s effect is often exaggerated. Most of the time, the final product just doesn’t work.

That brings me to “Birds of Prey.” Now, in the interest of full disclosure, I completely forgot about this movie. I had no excitement for it and not just because I was underwhelmed by “Suicide Squad.” I like Margot Robbie. I like Harley Quinn. She’s a great actress who plays a great character. The movie just did not grab my attention.

I saw the trailer. It was fine, but forgettable. I didn’t feel compelled to watch it 10 times in a row, as I did with “Wonder Woman 1984.” I didn’t feel compelled to see the movie, either. Even though it got good reviews, it just didn’t appeal to me. I planned to watch it when it came out on cable. Based on the early box office haul, I’m not alone in that sentiment.

I’d be perfectly fine to leave it at that. In previous years, I wouldn’t even bring it up. However, due to the growing inclination to make everything political, the under-performance of “Birds of Prey” is already getting the wrong people talking about it for all the wrong reasons.

Some are already lumping this movie in the same category as 2016’s “Ghostbusters” or the horrendously bad “Charlie Angels” reboot. Now, I don’t want to get into the politics behind it, mostly because I value the integrity of my brain cells. I’ll just say this. Whether you’re liberal, conservative, feminist, traditionalist, anarchist, or Marxist, there’s one thing to remember.

It’s a goddamn movie. Sometimes, movies just fail to find an audience. That’s it. That’s all there is to it.

Maybe it eventually becomes a cult classic, like “Blade.” Maybe it rebounds with good word of mouth. Either way, it has nothing to do with an agenda. The public, as a whole, just didn’t respond to it. Any criticism/whining beyond that is just asinine.

That’s all I have to say about “Birds of Prey.” Harley Quinn is still a great character and Margot Robbie is still a great actress. Your agenda, whatever it may be, has no bearing on that. It never has. It never will. Get over yourself and just watch the movies you enjoy.

 

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Jack Fisher’s Weekly Quick Pick Comic: Superman #18

Anyone who has read superhero comics for a sizable chunk of their lives knows the difference between a gimmick and a genuine plot upheaval. Gimmicks are shallow. They’re sales tactics disguised as shocking twists that promise to change a character, world, or team forever. Most of the time, they get retconned within a few years.

Plot upheavals that are real, genuine, and permanent are rarer, but that’s what makes them more precious. They often become defining moments in their own right for a character or a franchise. For comic fans, they’re like major life-changing events.

In the same way you vividly recall your first kiss or your first car, you remember where you were when Superman married Lois Lane.

You remember where you were when the Joker brutally beat up Jason Todd.

You remember where you were when Barry Allen died during Crisis on Infinite Earths.

In that same tradition, you’ll probably remember where you were when you read “Superman #18.” This is a comic that promises to change Superman’s life and his story in major ways. It’s the comic in which he finally reveals his secret identity to the world. It’s not a gimmick this time. This is real and it has an impact that will likely resonate for years to come.

Writer Brian Michael Bendis has built a career on powerful, dramatic moments. He did it for years at Marvel with Spider-Man, the Avengers, and the X-Men. Since he began his run on Superman, he’s taken the Man of Steel through his share of upheavals. Superman’s semi-stable family life with his wife and son became a lot less stable, but he still hung onto the same identity that had kept him grounded for decades.

That finally changes in “Superman #18.” It’s not a snap decision, either. This isn’t Tony Stark going off the cuff at the end of “Iron Man.” That’s not how Superman does things. He’s thoughtful, thorough, and very much aware of the implications. He doesn’t agonize or brood over it, as many other heroes are prone to do, especially if they have egos like Tony Stark. He simply tries to determine the right thing to do.

It’s not easy. Before the big reveal, Bendis takes Superman through a round of self-reflection in which he goes over all the reasons why he maintained his secret identity as Clark Kent. Some of those reasons were entirely valid. They weren’t excuses that kept demanding more excuses. They genuinely felt like the right thing at the time.

Superman lived as Clark Kent so he could be human. That has always been important to him, going back to the Golden Age. He’s an alien from another world, trying to live and be part of this new home that he has come to love. Being Clark helped him be human, even though he is objectively not human.

While that might have been important before, a lot has changed for Superman. He no longer has anything to prove. He’s built a life as Clark Kent. He has established himself as Superman, a hero among heroes who sets the highest standards for humans and aliens alike. He couldn’t have done this without maintaining his secret identity. The only question is what more can he do to justify keeping that identity?

The tipping point in “Superman #18” comes when Superman recounts what happens when others in his life have kept secrets. Even if they were kept for good reasons, it never ended with just that secret. One secret demands another. As they compound over time, they become dangerous.

That’s still only part of the issue. Beyond the secrets, having that identity sends a message to the same people he’s trying to protect. It says that he doesn’t trust them to handle him being both Superman and Clark Kent. Maybe that made sense when he was still winning their trust, but it doesn’t make sense anymore. It also helps make the right thing to do very clear.

That effectively ends the debate. Whenever Superman is faced with a decision, his first and only instinct is to do the right thing. That’s exactly what he does in “Superman #18.”

It’s what helps make the big moment in “Superman #18” feel like something other than a gimmick. Bendis makes sure that Superman revealing his identity to the world is the right thing to do. It never comes off as the end of something, either. Whenever Superman’s identity has been revealed in the past, it has always been a complication or a last resort. That’s not how it’s framed here.

Superman #18” feels like another step in Superman’s journey to be the hero by which all other heroes are measured. He’s lived as a human. He’s become an iconic hero. Those lives no longer need to be separate. In Superman’s eyes, they shouldn’t be. He’s still the same man, whether he’s wearing glasses or his iconic cape.

In principle, it’s a minor distinction. However, at no point in “Superman #18” does it feel trivial. Superman acknowledges that this is going to change things. His life is going to change, both as Superman and as Clark Kent. He knows there will be difficulties, but he’s willing to face them. He’s also willing to trust in the same people he protects to face them with him.

It’s a beautiful, powerful moment made all the more memorable by the art of Ivan Reis. It doesn’t require Superman to save the world, defeat Lex Luthor, or punch a planet into dust. It just requires him to do the right thing. That doesn’t just make him a hero. That’s what makes him Superman.

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“Wonder Woman 1984” Trailer Is Here (And It’s Wonderful)!

We live in a strange, yet wonderful era when it comes to movie trailers. It’s strange in that sometimes, the trailers are basically the movie. It tells you pretty much everything and if you go to see the movie, you don’t get much more than you got out of the trailer. That’s basically how I felt about “Suicide Squad.”

That’s a downside. The upside, however, more than makes up for it. When done right, a great movie trailer can take your excitement for a movie and turn it up to 11. You might have been excited about a movie already. In the internet era, that’s easier than ever. Then, the trailer comes along and suddenly, you feel like there’s liquid awesome flowing into your veins. It’s a great feeling.

That brings me to “Wonder Woman 1984.” It’s the sequel to the first movie that was groundbreaking in so many ways. I did plenty to praise it when it came out. I even made a wish list on what I wanted to see in the sequel. I didn’t know how much I would actually get when more details came out.

Now, those details are here! The first trailer of “Wonder Woman 1984” has officially dropped. All I can say is, it’s a wonder to behold and if you haven’t seen it, do yourself a favor and watch it at least 10 times, like I did.

Sure, other movies can promise a lot, but can they promise a female warrior demigod swinging from bolts of lightning from a magic lasso? I didn’t think so.

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Jack Fisher’s Weekly Quick Pick Comic: Tales From The Dark Multiverse: Death Of Superman #1

In the world of comics, alternate universes and various “what if” scenarios tend to be hit or miss. Some stories become more than simple thought experiments that plays with the malleable timelines and multiverses surrounding certain characters. A few even go onto become beloved and acclaimed. Stories like “Superman: Red Son” or “Age of Apocalypse” are shining examples of just how great these stories can be.

However, they’re the exception rather than the norm. Most scenarios that deal in alternate universes and “what if” scenarios tend to be either entirely forgettable or too absurd to take seriously. The stories that do set themselves apart usually succeed because the concept is strong and compelling.

By that standard, “Tales From The Dark Multiverse: Death Of Superman #1” has a lot going for it. The original “Death of Superman” story is one of the most iconic stories in the history of superhero comics. It raised the bar for how dramatic, impactful, and heartfelt a superhero comic can be. It showed just how great these characters can be, even in the face of tragedy.

This comic dares to flip the script. It explores a very different, very bleak scenario that shows how tragedy can bring out the worst in people. It dares to contemplate how even those who once championed the ideals of characters like Superman can become corrupt. That’s exactly what happens to Lois Lane in this story.

The idea, alone, is intriguing. Lois Lane isn’t just Superman’s iconic love interest. She’s someone who actively fights for truth, justice, and the American Way without the aid of other-wordly powers. Whether she’s a reporter or Superman’s lover, she personifies these values in ways that few characters can match. She’s the last person in the DC Universe that you would expect to be corrupted by tragedy.

However, in this world when the events of “Death of Superman” play out, that’s exactly what happens. Moreover, writer Jeff Loveness makes it feel entirely believable. As the story unfolds, we see a version of Lois Lane that isn’t just consumed by grief. She’s hardened by it.

Instead of grieving the loss of her lover and hero, she’s consumed by anger. She sees a world full of heroes that Superman helped inspire. Then, when he needed them most, they failed him. They let him die. On top of that, his death didn’t inspire people to be better. Things just went back to the way they were, minus their greatest hero.

In that context, it’s easy to understand why Lois would get so angry. As a result, when she has a chance to embrace the power of the Eradicator, you almost want to cheer her on. Suddenly, she has a chance to carry on Superman’s legacy. At the same time, it’s easy to see how this kind of power will ultimately corrupt her.

Power corrupting fallible human beings is a fairly common recourse in superhero comics. It’s the basis for some of the most iconic stories of all time. However, the fact that this is Lois Lane becoming corrupt is what really gives this story its impact. It makes “Tales From The Dark Multiverse: Death Of Superman #1” feel like more than just another dystopian timeline.

What Lois is able to do with the power of the Eradicator is extensive, but her grief has her cross lines that Superman never would. Loveness never gives the impression that she crosses these lines because she’s a fallible human. There’s a progression that builds up inside her, driven by sorrow and anger. She never just snaps. It feels like a natural extension of her anguish.

Naturally, it puts her at odds with other heroes and major villains. I won’t spoil how it plays out, but it gets pretty dark. However, it never gets so dark that it seems gratuitous. Loveless still makes an effort to capture the drama and heart that helped make “Death of Superman” such an endearing story. While it’s impossible to match the impact of the original story, this story still strikes the right chords.

There are moments in “Tales From The Dark Multiverse: Death Of Superman #1” that defy the traditional conventions of the DC Universe. It’s appropriately dark. At the same time, though, it never feels like the characters completely deviate from who they are. This darker version of Lois Lane still feels like the Lois Lane we’ve known for over 80 years.

Loveness makes the case that even someone like Lois can walk a darker path in a believable way. The artistic style of Brad Walker, Andrew Hennessy, and Norm Rapmund give that story an appropriately dark tone. It’s dramatic, but it never feels like it’s just doing things for shock value. Granted, seeing Lois become so corrupt is shocking, but that’s not the only thing driving the story.

While “Tales From The Dark Multiverse: Death Of Superman #1” probably won’t garner the same acclaim as “Superman: Red Son,” it succeeds in ways that so many other “what if” comics fail. It takes an intriguing concept and develops it in a believable way. It doesn’t undermine the characters or the original themes behind them. It simply tells a darker version of a well-known story and tells it very well.

Lois Lane will always be defined by her connection with Superman. In so many stories within so many worlds, that connection is what brings out the best in her. In this one exceptionally dark world, it brings out the worst and that makes Superman’s death even more tragic.

 

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Why “The Boys” Is The Ultimate Superhero Satire

amazon-prime-the-boys-tv-show

In the history of superhero media, 2019 will likely go down as one of the greatest years of all time. This year included three superhero movies that grossed over a billion dollars, including the first female-led superhero movie to gross a billion dollars and one that became the highest grossing movie of all time. Whatever the future holds for the genre, there’s no doubt that 2019 will go down as a banner year.

Regardless of what the James Camerons of the world think, superheroes have made their mark on the pop culture landscape. They’ll likely keep making their mark for years to come, especially after Marvel’s latest announcements for the future of the Marvel Cinematic Universe. However, in the same year that superhero media achieved some of its greatest success, something comes along to utterly deconstruct it.

Whereas a movie like “Avengers Endgame” showed us just how great superheroes can be, a TV show like “The Boys” shows us just how depraved they can be. Being a comic book fan long before this golden age of superheroes, I already knew that. I followed the original comics when they came out in the mid-2000s. Now, thanks to a new TV show, everyone can experience the story that gave superheroes the ultimate gut punch.

Literally.

I’m not going to lie. I was genuinely surprised when I heard Amazon Prime was going to make this show. This is not the kind of story that you can turn into a Disney-approved, PG-13 spectacle for mass consumption. In anything, “The Boys” goes out of its way to explore the kinds of things that would make the censors at Disney and the MPAA throw up.

This is a story that does not hide the brutal violence, intense trauma, and unchecked hedonism that often seems unavoidable in the context of the narrative. Writer and co-creator, Garth Ennis, has a long history of embracing those darker elements of the genre. He did it with “Preacher” and his run on “The Punisher.” With “The Boys,” he took it to another level and beyond.

The world of “The Boys” is not unlike the early days of the MCU. The over-arching story tries to incorporate the fanciful ideals of superheroes into a real-world context. It doesn’t use fictional cities like Metropolis or Gotham. It doesn’t ignore how superheroes would affect society, government, or the economy. The many flaws of the real world are just as relevant in this world.

As are the sentiments about reality, in general.

From here, “The Boys” doesn’t necessarily portray a worst-case scenario for superheroes, but it comes pretty damn close. The “heroes” of this world are the Seven. They include the likes of Homelander, Black Noir, Queen Maeve, A-Train, and the Deep. They’re basically derivations of the Justice League, but in terms of heroic ideals, these characters have none of that.

The Seven conduct themselves as superheroes for the masses. They’re admired, respected, and idolized by many, just like their counterparts in the MCU. However, that heroic zeal is both a lie and a scam. Their entire image is built around a marketing ploy, courtesy of Vought American Consolidated, a defense contractor who incorporates superheroes into their arsenal.

Trust me. It’s even more corrupt than it sounds.

With that corruption comes greed, treachery, violence, and depravity the likes of which Batman would find too grim. These heroes basically get to smile for the cameras, enjoy the benefits of celebrity, and still conduct themselves as self-serving narcissist behind the scene. They can do whatever they want, get away with it, and still be beloved. It’s a recipe for all sorts of disasters.

On top of that, some of these characters are outright psychopaths. Homelander is a mentally unstable sadist who commits many vile acts throughout the comics, including rape. The TV show captures only a fraction of his depravity, but it’s more than enough to highlight the underlying message of “The Boys” and why it’s such a powerful story.

In essence, “The Boys” is the ultimate satire of the superhero genre. It’s entire narrative is built around exploring, exposing, and denigrating the ideals on which all superhero media is built upon. It’s not done for humor or comedic effect, either. The theme of “The Boys” is dead serious in showing how a world with superheroes becomes so depraved.

This is where the Boys themselves come in. They include Billy Butcher, Frenchie, Mother’s Milk, the Female, and Hughie. They both witness and directly experience the breadth of the Seven’s corruption. They take it upon themselves to expose these heroes for who they are.

However, their motivations aren’t entirely heroic. These characters often come off every bit as damaged, petty, and vindictive as the heroes they actively oppose. They don’t stick to high ideals, either. The Boys are brutal, albeit in a more focused and pragmatic sense.

It gets ugly.

It gets violent.

It gets downright traumatic.

It also gets the damn point across.

If “The Boys” has a unifying message that unites both the comics and the TV shows, it’s that superheroes can only ever make things worse in the long run. That ideal of a perfectly altruistic savior in the mold of Superman just doesn’t exist and wanting it to exist can be downright dangerous.

The people behind the scenes with the Seven feed into that. The government, big corporations, and the media glorify these heroes because the people latch onto them. They want these heroes to be the idealized figures that they read about in comics and see in blockbuster movies. They buy into it and both the Seven and the organizations that manage them keep selling it.

It’s a self-reinforcing cycle that only amplifies the corruption. The Boys dare to battle that corruption, but with the understanding they’re fighting a losing battle. They can attack, expose, and frustrate these superpowered sociopaths all they want. They’re never going to destroy those rosy ideals on which the entire genre is build upon. At most, they can just make them pay a price for their egregious misdeeds.

It’s hardly proportional to the many atrocities the Seven commits, but that’s kind of the point. These are superpowered beings who can only be hurt so much, even by other superheroes. The Boys can never punish them in a way that feels equitable, compared to the injustices the Seven inflict. That doesn’t stop them from making an effort and making it better than most would expect.

The right tool for the right job.

How they go about this and how the Seven reacts is a long, tortured story that has many shocking moments that are not for kids or the faint of heart. The trailer for the TV show offers a hint of that, but there are scenes from the comics that even the lenient censors of Amazon Prime wouldn’t dare put on film. I won’t spoil the bloody details, but if you have the stomach, I highly recommend you check out the comics.

More than anything else, the “The Boys” is a brutal reminder that the ideals behind superheroes are probably the most fanciful part of the genre. In a real world full of corruption and collateral damage, superheroes can be far more dangerous than the threats they confront. It’s almost impossible to be a superhero without becoming a self-absorbed asshole to some extent.

Even the Boys, who actively battle the superheroes that fuel this fantasy, never come off as entirely altruistic. They’re simply more respectable and less narcissistic. In that dynamic, nobody can ever come off as truly heroic. There’s just too much room for corruption and ego.

While “The Boys” wasn’t the first comic to satirize superheroes, it’s definitely the most complete. “Watchmen” may get more praise and respect, but even in that story, the heroes still try to act like heroes in their own perverse way. What characters like Ozymandias and Rorschach do is framed as something heroic, even if it gets violent and brutal. There’s none of that with “The Boys.”

In an ideal world, even assholes will find a way to be heroic under the right circumstances. Tony Stark proved that in “Avengers Endgame.” However, in the world of “The Boys,” there’s no such thing as right circumstances. If anything, the entire superhero genre has it ass-backwards. Heroes will inevitably find a way to become assholes and if nobody stops them, then they’ll just push their assholery to new heights.

The Boys” is a unique comic in its own right, but the TV adaptation is coming along at just the right time. I would even argue that this kind of satire is necessary in the current cultural landscape. We need something like this to remind us that the ideals of superheroes are still ideals. Like most things in the real world, ideals tend to crumble when subjected to scrutiny.

At a time when people are consuming the ideals of superheroes at an unprecedented level, it’s important to maintain a sense of perspective about the genre. A satire like “The Boys” may never have the same impact as anything from the MCU, but it’s still a story worth telling, if only to remind us that great power can also breed greater assholes.

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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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