Review of Superman: Birthright by Mark Waid

8172Title: Superman: Birthright

Author: Mark Waid

Illustrator: Leinil Francis Yu, Gerry Alanguilan

Publisher: DC Comics

Format: Trade Paperback


I am a few weeks after seeing the disappointing Man of Steel movie and was looking to connect with a modern Superman that stays true to its nostalgic roots. Superman: Birthright is an origin story, that holds true to the Superman mythos that we know and love, but tells it through the eyes of modern technology.


Unlike Man of Steel, Birthright has a very short episode on the planet Krypton. Kal-El’s (Superman’s) parents are the only Kryptonians who make an appearance and they send their boy off in a prototype life pod while their planet is imminently about to explode. There is no mention of General Zod or the politics that inflict Krypton.

screen-capture-1The story of Superman on Earth begins with Clark intervening in a political revolt in Africa. For twenty-five years he has hidden his powers, but his emotional connections with the people there drive him to take action when their lives are in danger. He has not yet created the persona of Superman — nor of “Clark Kent.” I am making an important distinction here, because Superman is who he is first, donning bright red to draw attention to his abilities. Clark Kent — with a suit jacket, glasses, and a clumsy streak — is his disguise.


In a similar fashion to the movie, Birthright tells of Clark/Superman’s upbringing in flashbacks. I found this approach a little jarring in the movie, but it works well here. The Man of Steel only makes passing suggestions of Lex Luthor (company logos, for instance), but in Birthright, Superman’s arch-nemesis plays a prominent role. Through a series of vignettes, we see a young Clark Kent trying to befriend the outcast genius in Smallville, even bringing him home for dinner. There is great level of detail devoted to understanding Lex’s psyche and how he became evil, which really enriched the story. I will be curious if the second Man of Steel movie will incorporate Lex into Clark’s childhood.

screen-captureThe use of technology was probably the greatest strength of the graphic novel. Lex uses drones to attack the Daily Planet, Clark communicates with his parents using the internet, and he artfully has to dodge the satellites’ field of vision whenever he flies. My only qualm was with Lex using Kryptonite to develop a telescope that could see into the past. I know it is hard to make a case about suspension of disbelief when the story is about a flying man who shoots lasers from his eyes, but I found Lex’s abilities to adapt a meteorite to such extremes was a bit convenient. He gained knowledge of Krypton’s advanced technology, but frankly, he is genius enough to develop whatever he needs on his own.

I am a novice when it comes to Superman comics, but another interesting commonality I noticed was the meaning of the letter “S.” In both Man of Steel and Birthright, it is a Kryptonian sign that means hope. Waid has a way of sharing information like this matter-of-factly, which educates the reader without being intrusive. The movie, which perhaps was written for a younger audience, lingers on this detail in such an opaque manner that it becomes distracting.

Overall, I enjoyed reading Birthright and it was a suitable story to tell through the lens of the twenty-first century. There is nothing that truly raises the bar for Superman like Grant Morrison did with All Star Superman, but it is still an entertaining read that actually develops the characters rather than focusing merely on plot points and action. For this reason alone, Birthright far exceeds Man of Steel in its storytelling.





Review: All-Star Superman, Vol. 2

Title: All Star Superman, Vol. 2

Author: Grant Morrison

Illustrator: Frank Quitely


Publisher: DC Comics


Grant Morrison continues his All Star Superman series in this second collection. I find the premise of the series fascinating, but unfortunately the stories contained in this volume left me a little disappointed.

Superman, due to overexposure to the sun, finds himself with greater powers than he ever had. These super superpowers come at a cost — Superman’s body is deteriorating and he is on a clock until death. Keeping the all star tradition, Superman fights against a variety of common foes who will do anything and everything to succeed before the world is without their man of steel.

In this volume, Superman travels to the Bizarro planet where he meets the alternate reality of himself. But this time, due to a genetic mutation, his altered persona is a genius among dolts. He goes by the name Zibarro and like Superman, longs to get off of the planet whose gravity is too powerful to fly off of.

In another story arc, Superman encounters Bar-El and Lilo, the first astronauts from the planet Krypton. They find themselves on Earth ready to build a new Krypton — the very planet Superman now serves to protect.

The last notable story arc is of Lex Luthor, who before facing the electric chair, formulates a concoction that will give him Superman-like powers. Superman must use his final hours on Earth to protect Earth from its greatest villain.

I’ll admit that my knowledge of Superman is restricted to the movies and a handful of comic books, so there may be some key elements of the story I am missing. I hold Morrison’s comic skills in high regards. The series is definitely worth a read and it brings an enjoyable twist to the famed Superman storyline. Where it fell a little flat for me was with the characters. Lex Luthor is fittingly brought back for a final battle with Superman, but instead of becoming an All Star of wits, he becomes a physical threat. I would have much rather seen Lex’s final attack include a great diabolic scheme including technology or kryptonite than some magic potion that makes him an evil Superman. We were also introduced to his neice, Nasthalthia, who is an intriguing character, but left very little of the spotlight. The thing I liked about this story, however, was that as Lex Luthor’s powers dissipated, he had a epiphany, suddenly understanding the forces that drive Superman’s psyche.

The story of the Bizarro planet is easily the strongest story arc of this volume, even if the strange opposite language is at times difficult to understand. Given the short amount of pages to build up each story, it seemed a little rushed as Superman was thrust onto the cubic planet and then had to seek his escape. I really enjoyed the twist of having a sympathetic character in Zibarro, who seeks to be a part of an enlightened people. Particularly fun was the Unjustice League, returning a Bizarro Green Lantern, Batman, and Flash to assist in Superman’s plan.

Overall, All-Star Superman was an enjoyable read and interesting take on the legendary superhero. It is an absolute essential for Superman fans and despite its flaws, it is a fun comic for the casual reader.

Review: All Star Superman #1 by Grant Morrison

Title: All Star Superman

Author: Grant Morrison

Illustrator: Frank Quitely


Publisher: DC Comics


I was unsure of what to expect when I first picked up this novel. After all, it is Superman, who to me often seems a little too invincible. Add to that the premise of the novel that Superman, in attempting to save a group of astronauts from being scorched by the sun, is overloaded with radiation, giving him magnified powers. Only Lex Luthor knows that secretly his cells are dying inside due to the overexposure.

What attracted me to the novel was Grant Morrison, who really is a brilliant writer. This is a fun series — Lois Lane gets super powers for a day; Superman is exposed to black Kryptonite, making him evil (and a little dim-witted); and as Clark Kent, has an opportunity to interview Lex Luthor in the penitentiary (that predictably goes awry).

Superman is still iconic in the novel, but is not the Christ-like savior depicted in most Superman scripts. His powers are not used to save the world in any point in the novel, but to win Lois’s affection and when turning evil, to attack Jimmy Olsen. I wasn’t particularly fond of the knightly contest with Atlas and Samson to win Lois (it seemed somewhat absurd and dated), but most of the story left a smile on my face.

Frank Quitely’s artwork is truly superb. With very few lines, the emotion of each character leaps out of the page. Lois is truly stunning. The depiction of Clark Kent is brilliant as well — his superhero physique hidden beneath his suit gives him an almost pudgy appearance.

Lex Luthor’s character is (as typical) a bit one-dimensional, focused solely on destroying Superman. He is not able to figure out that Clark Kent is Superman, even though he compares their builds and also notices that they have the same eyebrows. I suppose that just adds to the mythos that is Superman — even Lois Lane was flabbergasted to find out his true identity.

All Star Superman is a fun read for those who want a departure from gritty, dark comics, without being juvenile. I am excited to read the second volume to conclude the series.



Review of Batman: The Killing Joke by Alan Moore

Title: Batman: The Killing Joke

Author: Alan Moore

Illustrator: Brian Bolland


Publisher: DC Comics

Format: Hardcover Deluxe Edition


The Killing Joke was first published in 1988 and has become the definitive Batman comic of the Joker. It served as inspiration for both Tim Burton and Christopher Nolan’s Batman movies and provides an origin story for Batman’s archrival.

Two tales are told throughout the narrative. The first story, told in full color, tells of the Joker making a surprise appearance at the Gordons’ house, only to shoot Barbara (Batgirl) Gordon in the abdomen/spine and kidnap Commissioner Jim Gordon. He brings the commissioner to a sadistic playground where he attempts to psychologically break him, thus proving that any man can be made crazy given the right circumstances.

The second story, told in black and white, is of the Joker’s origin. The origin story is based on the 1951 Detective Comics, “The Man Behind the Red Hood.” In Moore’s version, the man who will become Joker is an ordinary guy who has quit his job as a fledgling scientist to become a stand-up comedian. His wife is pregnant and is reluctantly supportive of his career pursuits. The Joker struggles to land any comic gigs and turns to a couple of crooks hoping to make some money to support his family. They are soliciting his assistance in navigating through a chemical plant where he once worked so they can rob the nearby card store.

The aspiring comedian learns that his wife has died in a tragic accident, but is convinced to stick with the illicit plan. He is given a red hood (which could be used to implicate him as the mastermind of a series of crimes) and leads his two cohorts into the plant. A security guard spots the criminals and a shootout ensues, leaving two of the criminals dead and the soon-to-be Joker left to deal with Batman.

The Joker, terrified of being caught by the Caped Crusader, leaps into a vat of chemical waste, only to discover that his skin, lips, and hair are permanently transfigured, giving him the permanent appearance of the bleach-faced, green-haired Joker. The death of his wife and his disfigurement drives the pitiful comic insane and a villain is born.

What makes The Killing Joke such a great comic is the portrayal of the Joker. His origin story is hyperbolized, showing him as a helpless everyman who just wants to make ends meet to support his family. In the second plot narrative, the Joker is so sadistic that he senselessly shoots Barbara and kidnaps the commissioner just to prove that his madness is not unique — it could happen to anyone. The extreme caricatures of the Joker are effective in showing how far from the ordinary man this villain has become.

I really liked what the artist, Brian Bolland, had to say in the novel’s afterward. He writes, “I for instance, would never have chosen to reveal a Joker origin. I think of this as just one of a number of possible origin stories manifesting itself in the Joker’s fevered brain. Also, I wouldn’t have done such terrible harm to poor Barbara.” Tim Burton used this story in part to detail Joker’s origin in Batman. In my opinion, Christopher Nolan succeeded to a much greater level in The Dark Knight, by abandoning this origin story all together and actually telling that the Joker was abused as a child. The Joker has two separate causes for his disfigurement, giving him an ambiguous origin that makes him more mysterious and interesting.

The Killing Joke on face level fails as an origin story and I like to take Bolland’s viewpoint that this is only a possible origin story. As I mentioned, it makes a perfect hyperbole to exaggerate the lunacy that the Joker is driven to, but he was much too ordinary to suddenly go so insane. The aspiring comic was very reluctant to involve himself with crime (in stark contrast to the Joker of “The Man Behind the Red Hood”) and he appears as a coward, weeping in his wife’s lap. The Joker is fearless and demented, character traits that serve better if manifested in his childhood.

The artwork is gorgeous and the range of expressions that the Joker has are truly impressive. In one moment he is angry, another despondent, and then just purely mad. The pictures of the Joker in the carnival really add to the madness that both Moore and Bolland are trying to portray.

Batman plays a secondary role in this novel, but he still provides a level of interest. Batman has a tendency toward being hot-headed, but does his best to keep his emotions in check. I love the interchange between Gordon and Batman when the commissioner is found naked and bruised:

Gordon: No, I’m okay. You have to go after him. I want him brought in . . . and I want him brought in by the book!
Batman: I’ll do my best.
Gordon: By the book, you hear? We have to show him! We have to show him that our way works!

The Killing Joke is a definitive Batman and Joker story and is required reading for any comic fan. It is short, but effective in portraying the Joker and the ending is ambiguous and a very fitting conclusion to the complex characters of both Batman and the Joker.

Review: Arkham Asylum by Grant Morrison

Title: Arkham Asylum: Serious House on Serious Earth

Author: Grant Morrison

Illustrator: Dave McKean


Publisher: DC Comics

Format: Paperback


This is my first graphic novel review, so I hope you will bear with me. For those who familiar with the title, I know what you are thinking — are you crazy? This is not the place to start. As far as Batman goes, it is so far from traditional that it might not even be canon.

Well, perhaps you are right, but alas — here is my review anyway.

I have always been drawn to Batman. Even with the earliest representations and quirky gadgets, there was always a dark side of Batman waiting to be unveiled. He was orphaned by a ruthless killer and finds his abode in the confines of a deep cave. He is covered with a mask, hiding his true identity from the world. He dresses in black and has an affinity toward bats. Despite his inner struggle, there is a will to do good — to make a positive mark on the world.

Arkham Asylum takes a different look at Batman than traditional comics. This is not a plot-based adventure story, but rather a psychological nightmare filled with symbolism. The novel begins with an introduction to the journal of Amadeus Arkham, the founder and later, a patient of Arkham Asylum — a mental facility for Gotham’s most deranged criminals.

The scene then shifts to the commissioner’s office, where Batman arrives to receive a telephone call from the Joker. There has been an uprising in the asylum and the patients have now taken control of the facility and are holding the workers hostage. The Joker has one last request — for Batman to come to the madhouse.

The Asylum houses the Joker, Two-Face, the Mad Hatter, Scarecrow, Killer Croc, and Clayface, among others. Batman is not drawn into a battle of fists and bat-weapons, but a battle of the mind. The Joker lures Batman to rediscover his childhood trauma and confront his inner struggles.

Batman is not a superhero in this novel. He is merely the subject of a psychological horror. All of his deepest fears are manifested in the villains he faces. The artwork is disturbingly beautiful and the shadows and abstractness of the characters enhance the dream-like quality of the story.

One of the most intriguing characters is Two-Face. When he arrived at the hospital, he used a two-faced coin to make his decisions. The doctors took away his coin and gave him a six-sided die, then a deck of tarot cards to further broaden his available set of choices, but the therapeutic strategy left him incapable of even deciding to use the toilet to go to the bathroom. When Batman is confronted with Two-Face, he begins to wonder if his actions brought them to this level of insanity. The Mad Hatter Reveals that the asylum is Batman’s head and that the villains are him (figuratively, but did he create them literally in some way too?).

The Joker acts not as the antagonist, but as a discovery character. He leads Batman through the asylum on a journey to uncover the truth of his character. In a brilliant exchange, one of the characters tells the Joker, “I say we take off his mask. I want to see his real face.” The Joker replies, “Oh, don’t be so predictable, for Christ’s sake. That is his real face. And I want to go much deeper than that. I want him to know what it’s like to have sticky fingers pick through the dirty corners of his mind.”

The novel is dark and atypical of most Batman stories, but I found it to be a rewarding read. The subtle nature of the ending is satisfying, where Batman places his trust not on fortune, but on the demons confronting him. The imagery is graphic and Batman fittingly remains in the shadows throughout the novel. Not only does he remain masked, but his face is largely a silhouette in most of the panels. Even the lettering (particularly the Joker’s) contributes to the feel of the macabre madhouse.

Overall, I found this graphic novel to be a haunting, but beautiful portrait. Perhaps it went a bit far in places (likening Batman to Christ as he identifies himself as “just a man” and dwelling on Batman’s mommy issues). But I much prefer experimental works such as this to be overreaching than failing to go for it. Even though the images are gruesome, they must be absorbed to truly understand the story. This is not a novel to race through, but to be partaken slowly — one agonizing bite after the other.