I could waffle on at length about the fascinating idiosyncrasies and peculiarities of the whole superhero sub-genre that’s essentially run in the US by Marvel and DC, but I’m not sure anyone else would find it half as fascinating as I do (although, honestly, it’s one of the most unusual systems for creating, publishing, distributing and selling fiction you could ever imagine). So for now here’s just one proposition that sets the scene for the two titles I thought I’d talk about today.
Quite a lot of the long-running superhero series display a couple of apparently contradictory characteristics that can be an obstacle for the objective, casual (i.e. non-‘fan’) reader. They revel in dense and new-reader-hostile continuity, the established canon of past stories that exists in their respective shared universes; yet they also play fast and loose with the narrative, psychological or physical plausibility and internal consistency that are staples of most other kinds of fiction. Sometimes, superhero comics require not so much the suspension of disbelief as its ritual sacrifice upon an altar dedicated to the gods of never-ending, bombastic soap opera.
There are all kinds of obvious and not-so-obvious reasons for the development of these odd characteristics. To an extent they’re features, not bugs, of stories that are produced on a remorseless, indefinite monthly basis, by temporary creative teams that do not own the corporate intellectual property upon which they’re working, and primarily for the diehard fan, not the aforementioned casual reader.
Because I was once one of those diehard fans, I don’t have too much trouble switching my brain into ‘superhero-reading’ mode, though it’s nothing like as easy as it once was. But I thought I’d start my Words and Pictures venture into the world of superheroes gingerly, by talking about a couple of recentish comics that don’t really need that kind of mental adaptation. They approach the topic of superheroes, their continuity and their narratives, in imaginative and entirely different ways, and do it so successfully that there’s no need to cut them any genre-specific slack. They’re just plain good. And fittingly, they’re about the two most famous superheroes of all.
GOTHAM CENTRAL, written by Ed Brubaker and Greg Rucka, art by Michael Lark, published by DC Comics
The focus is entirely upon the men and women of Gotham City PD, specifically the unit that gets involved in crimes committed by supervillians. This is a rich and diverse group of characters, handled by two talented writers, Rucka and Brubaker, with a particular interest in and affinity for crime stories. A perfect match, in other words.
Gotham Central is firmly set in the DC Universe of the time – Batman’s key villains show up one after another, as he and other superheroes do now and again – but it takes its tone and tropes and structure from the police procedural far more than from the superhero, and thereby makes itself not only distinctive but more conventionally comprehensible to the non-superhero reader. It imposes a certain logic and grounded plausibility on the narrative (once you get past the inherent implausibility of superheroes and villains, of course).
And that plausibility, along with the quality of the writing, gives the whole thing a weight, a certain leverage upon the reader’s engagement, that is absent in the more flashy kind of superhero tale.
The stories are good, which also helps. The cops investigate unsettling kidnappings and murders in ways that are just realistic enough to convince. One of them is involuntarily outed as a lesbian, with similarly believable consequences. More than one of them dies, caught in the crossfire between Batman and his superfoes. In normal superhero comics those deaths would probably be somewhat incidental, and quickly forgotten; here, they have meaning, and persistent consequences.
Batman’s place in Gotham Central is interesting and plausible, too, and illustrates how Point of View can profoundly shape a narrative. Despite his absence much of the time, he is the structuring, defining presence at the heart of the book. The reader is never allowed inside his head, or his life, and sees only what the police see: his actions and (few, dispassionate) words. In Gotham Central he’s a remote, cold figure; an ally of sorts, but an uncomfortable, unsympathetic and not entirely welcome one. A cipher, a force of Nature.
I’ve read the first two of the four trade paperback collections, so can’t absolutely guarantee the quality is sustained, but it seems pretty likely. These guys knew precisely what they were doing with this series.
ALL-STAR SUPERMAN, written by Grant Morrison, art by Frank Quitely, published by DC Comics
Superman’s a paradox. He’s the ultimate icon of superheroic virtue, enjoying near-universal public awareness, yet has proven a distinctly problematic assignment for writers over the years. And I admit: I never warmed to him, not even in the heyday of my superhero fandom.
In All-Star Superman, arguably the most creative current writer in superhero comics – Grant Morrison – and a truly gifted artist – Frank Quitely – created something I therefore wasn’t expecting: a Superman comic I really like. One of the most accomplished, perfectly judged superhero comics for a very long time, in fact.
They do it by taking what might be the only really satisfactory imaginative approach to the character, the only one that gets to Superman’s essence and his symbolic transcendence: they imbue him and the stories about him with mythic resonance and import. This is not a caped crusader fighting supervillians; it’s a dying demi-god performing his Twelve Labours and, ultimately, ascending.
What’s so brilliant about All-Star Superman, though, is that while it is playing that mythic game with great effect, it is also (a) a funny, moving and deceptively straightforward (if very idea- and narrative-dense) comic about Superman’s final days, him and Lois Lane going on a date, Clark Kent losing his adoptive father, Jimmy Olsen getting into trouble, Lex Luthor being mad, bad and dangerous to know, and (b) a loving homage to the frankly rather silly goings-on in mid-20th century Superman comics.
In fact, those three levels of meaning and tone are one, because the mythic is fashioned from the substance of the mundane, elevating the superficially silly to a higher level entirely. It helps considerably if you’re familiar with some of the basic elements of the Superman mythos (Bizarro world, the Negative Zone, the bottled city of Kandor, etc.) but the beauty of All-Star Superman is that it’s a concise stand-alone story with beginning, middle and end, unconnected to any specific, restrictive continuity in the DC Universe.
It’s also, incidentally, stuffed with Morrison’s trademark inventiveness, in this case often applied to sf and fantastical ideas. There are Voyager Titans, gigantic humans genetically engineered for deep space exploration; a vision of Superman as divine blacksmith, hammering miniature suns into being on a cosmic anvil.
The art is nothing short of wonderful, and a good 50% of the reason I think All-Star Superman is something of a masterpiece. Quitely has a clean, clear style reminiscent of Euro-comics. Immensely detailed, immensely thoughtful in its attention to nuance (Superman’s body language and posture change subtly but completely, for example, when he is in his Clark Kent persona).
This is, for me, pretty much the ultimate Superman comic. In a mere twelve issues, Morrison and Quitely delivered more heart and smarts than most superhero comics manage no matter how many instalments they’re allowed.