Posts tagged DC Comics

A panel from All-Star Superman, with pencils by Frank Quitely and colors by Jamie Grant.

I feel as if I forgot about Superman until I came across Grant Morrison’s interpretation in his All-Star series that debuted in 2005. It crystalized what I loved about this character the first time I saw him racing against a train in Richard Donner’s “Superman: The Movie.” What made the character resonate for me in both was that Morrison and Donner didn’t necessarily reinvent the character. Rather they identified elements that were important about him and explored them. I’m not referring to his powers, which are magnificent of course, but they’re not enough to sustain an emotional journey of a character through a story. It was the character’s humanity. Donner focuses on how Clark Kent grew up and became Superman, while Grant Morrison tells the story of what the Man of Tomorrow does with the last days of his life.

Superman: The Movie (Extended Edition) and Superman II: The Donner Cut

When you watch Superman I and Superman II (The Donner Cut), you may find a superhero comic book movie on the surface, but underneath is the engine of a coming of age story. There’s a moment in the first Superman movie when young Clark Kent is talking with his father after he’s just finished beating a rival schoolmate back to his farm by outrunning a train. He expresses to his father that he’s frustrated because he can do things like kick a football seemingly into orbit. Yet he has to hide his abilities, and stand the ridicule and humiliation of his rival as he drives away with a girl he liked. He’s still that same kid who wants to show off all of the wonderful things he can do when he’s standing before his other father, Jor-El, telling him about the feats he did in his first night as Superman. Jor-El tells him he understands how good it felt to do this, and acknowledges his son’s vanity. He doesn’t judge him for it. Clark doesn’t yet understand consequences, though. When faced with the possibility of a life without Lois Lane after trying to stop two rockets, he turns back time. He can fix anything, that Superman can.

Yet again Clark is still that same kid from Smallville when he’s standing before Jor-El in the Donner Cut of Superman II, complaining about the unfairness of not being able to have what he wants. He doesn’t wish to be alone, another essential human quality Donner focuses on that drives Clark’s choices. A life with the companionship of Lois Lane is possible now, if only he weren’t Superman. Yet he’s warned that there will be consequences if he gives up being Superman.

(SPOILER ALERT, in case you’ve never seen Donner’s Cut)

He discovers those consequences when he returns, powerless, to his fortress to beg his father to restore his powers, which his father does. At a price. If you’ve never seen the Superman movies, you must know that crystals are a key component of his Fortress of Solitude. All of the knowledge of his civilization is stored in these crystals, including the artificial duplicate of Jor-el he speaks with. Jor-el tells his son that restoring his powers will wipe out the remaining energy in the main crystal, rendering it inert. They will never speak again, and Clark will have essentially lost his connection to a second father. There is a poignant scene towards the end, the one in which I feel demonstrates the complete arc of Clark’s growth. He stands looking at the Fortress of Solitude from a distance, with Lois Lane behind him. Without saying a single word he destroys the Fortress of Solitude. It’s a lifeless structure, and he lets go of it. Is it an act of acceptance and letting go, therefore a sign of maturity? I think so.

There is one warning I have to give you about the Donner cut, though. For those who aren’t familiar with the film and its history, a lot of key scenes were never filmed. This included an ending to the movie. When faced with the option of using the ending filmed by Donner’s replacement Richard Lester or simply recycling the ending from the first movie where Superman turns back time again, the latter was chosen. Yes, it does betray the thematic arc of the story. Therefore, I prefer to leave the movie at an earlier scene. It’s one where Superman has brought Lois back to her apartment, and she stands crying because she knows they can’t be together. And she also knows who he is and it will break her heart to see him every day at work but never be able to reach out to him. She asks if she got the man she wanted, and he affirms it. Then they part ways. I say I prefer to leave the movie at this point rather than continue on to the next sequence because what are our heroes and the lessons they learn if they can simply wipe away the lesson as if it never happened?

(End SPOILER)

All-Star Superman

Superman saves the day one more time only to discover that doing so has killed him. What you find in the stories that follow this discovery is an introspective Superman, taking the measure of his life and focusing on what is important to him. There are so many things to settle, decides The Man of Steel. There is his affection for Lois Lane. There is the question that haunts him: what will happen to the human race without a Superman? How can he save the day from beyond the grave? He asks himself what a world without a Superman would be like? (And I might add that it’s an inpspired approach he takes to find out the answer to this in the latter half of the series, made possible by the realms of speculative fiction.)

In trying to find the next Superman he turns to Lex Luthor, telling him in the guise of Clark Kent that Superman and him could have done great things together. In trying to reach out to his greatest enemy, a man who can cure cancer with a cell phone and a safety pin, he finds it’s not Luthor that is his greatest foe. It is Luthor’s ego.

Yet there has to be a way. “There’s always a way,” as he reminds himself numerous times throughout the series. Even when he finds himself powerless and trapped on a planet, slowly being crushed by the heightened gravity around him and trying to find a way to communicate with a race that doesn’t quite speak his language, he still tells himself there’s a way. Even when his final hours are approaching and he reflects on how much he’s accomplished and yet how much more he has to do, there’s still away.

All-Star Superman is essentially Everyman meets Superman. Grant Morrison’s choice to have Superman face his mortality and decide what he values in his life also allows us to have a set of stories that incapsulate why the character has been around for so many decades. I found some of these stories moving, such as the one that explores an episode with his father, Jonathan Kent, from Superman’s days in Smallville when he was Superboy.

After looking up

I think about all of this and come to wonder if perhaps it’s not Superman that is my first love? Perhaps it’s the hero’s quest and coming of age, as I look at other stories I’ve come to love over the  years. I think about Huckleberry Finn torn between what he feels is right and what he’s been told is right when it comes to the matter of rescuing the slave Jim and learning to make up his own mind. Or Gilgamesh, seeking out the secrets of immortality after the death of his friend, Ekindu. Perhaps it’s myth? Maybe it’s all of it. Superman was first, though.