Goat Rider

A pitch for something that will never happen but I want to share it anyway. I mean if someone wants to pay me to write this for Marvel, I 100% will…

Beatrice Albinson saw something she shouldn’t have. The robots came for her, at night. They didn’t want her to tell anyone. No one could know about The Plan. So Beatrice ran. She hid. She ran some more. Beatrice hid in the dark spaces. She ran and hid and hid and ran until there was no where else she could think of. The robots were tireless, but Beatrice was only human.

And then she came across the stable. There shouldn’t have been a stable near the West Side Highway. Beatrice had always thought it was a bagel shop, truth be told. But no, a stable for sure. Big door, smelled of animal, bits of hay strewn about outside. Big old A logo on the door. A didn’t stand for stable, Beatrice was mighty sure about that.

Inside the stable (hey it seemed a good dark place to hide and horses didn’t bother Beatrice), she found a chariot. Big thing: old wood, carvings covering it all around, gold inlay and silver runs filling in the spaces. Nearby the chariot she spotted the horses. Wait. No. Those were horse-sized but they were giant goats. Goats with glowing red eyes and flaming lashes. Goats who didn’t want to be disturbed.

The robots found her, of course. They’re robots, they have an app for that. They came in shooting. Robots and horses (they assumed the goats were horses as well, because come on, who wouldn’t?) never did get along.

Turns out robots and giant goats get along rather less well. The goats shrugged off the lasers and small arms fire, breathing fire that melted the robots into slag. Beatrice wasn’t as lucky. She lay on the floor, hay soaking up her blood, as the fire raged around her. It covered her, danced over her body, but did not consume her form.

Instead she found herself feeling better. She sat up, ran a hand through her hair and noticed that her hand came back covered in fire. That, she told herself, was new. Abnormally calm or in the full flush of shock, either way, Beatrice stood and looked around.

She knew, as she walked, that the chariot was hers. For a time, at least. As her feet touched it, the wheels burst into flame. A flame that didn’t harm the ancient wood. The goats willing walked over and, in a process Beatrice couldn’t quite figure out, harnessed themselves. As they did their beards and tails burst into raging fire as well, Flames licked up from their hooves. And then they turned, dragging the chariot, and took to the sky leaving fire in their wake.

The Goat Rider was born. The spirit of Vengeance merged with… well, let’s just say that Thor was mighty pissed someone stole his goats. But that’s another tale for another time…

Wonder Woman: The Movie

A while back I got asked to contribute to an article full of people with ideas of how to do a Wonder Woman movie. The article didn’t happen though so I thought “Well why not just post it here?” so I am. Here’s the Wonder Woman movie I would write:

A Wonder Woman movie should be the simplest thing around. She’s a character who strives for peace, and is also the greatest warrior the world has ever known. Her own internal struggle to reconcile that, and to help all of humanity toward peace, through strength and compassion, is a huge host of interesting information just waiting to be explored. Then you add in Greek mythology, a mythology that not only a number of recent blockbusters have found themselves digging into again, but a mythology that has survived and thrived in the consciousness of the world for thousands of years.

How can this suck, if done with attention and love? It can’t.

How would I do it? Well I’d start by casting Claudia Black, and then add Brad Bird directing. But that’s me. I’d want to open with an older Diana. Not a young woman, but a seasoned warrior. Leaving a U.N. meeting, put some info dump there – Themyscira, Amazons, her job as Ambassador. Then break it up with an attack. A race of aliens, claiming to be the inspiration for the Greek Gods. Here to destroy us all.

Diana must fight back, but also learn the truth. Remember that – Diana searching for truth is a key element. As is her attempt to resolve the conflict peacefully, if at all possible. When it isn’t, then she will strike as hard and fast as needed, but she will give them a chance.

Anyway, she has to go back to Themyscira, touch base with Olympus, all of that, to find out the Aliens are fakers (of course they are) and now Diana must lead the charge of Amazons and Gods and the World Army to save the Earth. This will also solve the crisis from the start of the U.N. and her place in it and so on. It brings the Earth into deeper understanding from a place of mistrust. She has to be crucial to each army, and lead all as much as possible. She is the Over Commander. And while Zeus doesn’t like it, she has the backing of other Gods, the skills and the spine to shut him down and make him fall in line. Same with the Amazons. Her mother is deeply proud, but still chafes under taking orders from her daughter. The World Army leader, Steve Trevor, has his own command and doesn’t want to be seen as weak, but Diana helps show him that it isn’t weak to follow a commander when it is the right choice.
In the end the Aliens are defeated. The Gods and the Amazons have started to reconcile (Though the Amazons worship the Gods they didn’t exactly LIKE them, ya know?) and the World Army accepts Diana, and her people.

You get to show Diana, why she herself is important, what her culture is and how she strives for peace and is also willing to go to war. You can show her stretched too thin and set up sequels where the threat doesn’t have to be bigger – it can now be far more personal (Gods vs. World Army / talks breaking down / Amazon rebellion / Bring in Atlantis! / whatever) and make the world expand, instead of simply raise.

My Ship Will Punch You

The Supermobile. The name doesn’t exactly strike fear into the hearts of men, does it? Super. Mobile. It just kinda sits there, really. The first question that pops to mind is “Why the fuck does Superman need a jet plane?” He can fly, he’s invulnerable, and he’s super-strong. You don’t need a car at that point, do you?

Not really, no.

Still, when you have to deal with falling kryptonite, you improvise. Superman improvised by creating the Supermobile. It was blue. It was all nifty shaped. But then came the problem: Superman can’t use guns or missiles, so how can he do anything but fly around in his protective spaceship? Simple answer: We’ll give it big metallic fists so he can punch the rocks out of the sky! Of course, eventually he also used it to punch out bad guys. Because when you have a freaky-shaped spaceship equipped with punchin’ arms, you fucking well use it!

When it was invented, the rundown went a little something like this:
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The time—Action Comics #481

The place—Earth

The events—A red sun explodes in deep space, and eventually waves of Red Sun energy hit the Earth, causing Superman to lose his powers when he’s outside. Which makes no real sense, since the sun is still yellow and pumping out rays too and… oh forget it. Anyway, he gets progressively weaker as the wave gets closer, right? Which is when Amazo attacks.

Now, a quick word about Amazo. Sure he’s a robot who has all the powers of the Justice League. Sure he’s mean and tough. He also has pointy ears and wears a green striped vest with matching arm and leg cuffs. Yeah. I’m just sayin’.

Anyway, Amazo comes by, traps the Justice League in their satellite in space, and decides to kill Superman. I know that’s what I do when I have a free Tuesday.

So Supes works with a professor (comic book scientists—gotta love ‘em) and builds the Supermobile. But what the hell is it made out of that can withstand the mighty blows of Amazo? Let me quote the comic for a second…

Wonder Woman: Somehow the vehicle shields Superman from the red radiation that’s been sapping his powers!

Batman: …which leads me to deduce it is constructed of Supermanium!

Wonder Woman: Supermanium—?

Batman: The strongest metal ever created—so strong in fact, only Superman’s heat vision can soften the surface and only his super-strength is mighty enough to mold it! He had to build his car in a radiation-shielded room of the Fortress!

Green Lantern: The Supermobile’s as invulnerable as its driver is!

Leaving aside the rampant yelling the Justice League does (Let’s have pie! I want some cheese! My socks are yellow!) let’s just tweeze out the key point here: Supermanium. This was the first time it was ever referenced in a comic, and the last. Where does it come from? What does it want? The world may never know. All we do know is that it is an element that could be incredibly useful… Why doesn’t Superman make the Batmobile out of Supermanium so that Batman’s ride can be indestructible, too? Why isn’t the Justice League satellite made out of it?

Who knows. The only thing ever made out of Supermanium was the Supermobile. That wacky, pimped-out ride of stupidity.

Now, to be fair, I have always loved the Supermobile. It was one of those ships, quite unlike the Spider-Buggy, that just looked so wrong it came out right. It was a space ship/jet plane that had punching metal fists attached. Fuck, you can’t get cooler than that.

Well, Corgi agreed. They had been supermobilemaking die-cast toys for years by then (for the James Bond line, a Beatles band tie-in or two, and so on), and around 1979 they landed a deal to make vehicles for DC Comics super-heroes.

Wonder Woman got a crappyass car. Shazam got a Porsche Can-Am racer. Superman got a panel van (I never understood why he wanted a panel van unless he was pretending to be a member of the A-Team), a Daily Planet Helicopter, a Metropolis Police car, a Daily Planet van (in addition to the plain panel van with his logo on it!), and the Supermobile. The only hero who did better was Batman, since he got a boat and a bike and the Batmobile (and that was only for that particular year).

All was right with the world. Superman’s jet had punching arms and Shazam rode around in something that looked like a CHiPs villain-reject’s getaway car. I had a Supermobile toy and I fucking adored it. The arms would punch out with a little spring-loaded switch. It had tiny wheels, just in case, and it looked so very cool.

And then it all went wrong. Kenner had a DC Comics toy license in the 80s. They were doing the oddball Super Powers line of toys. Some good toys came from that line, but Kenner wasn’t known for quality, really. The blow came, though, when they decided they needed vehicles.

Yeah. Kenner made a Supermobile of its own. They reused the name Supermobile but made it big enough for Superman to fit in. Sounds good so far, right?

But no. Because the new Supermobile didn’t have fists! It had a “Krypton Action Ram” and “Villain Captivators.” Let’s be honest here: The action ram? A little silver bumper that would spring out a centimeter or two and look like the dumbest low rider ever. The Villain Captivators? A hinged trunk. Yup! Superman went from punching people with his ship to ramming them face first and sticking them in the trunk.

Needless to say, there hasn’t been a Supermobile since. Thanks a fucking lot, Kenner.

Now, personally? I want a new Supermobile. An old Corgi one, the U.S. version with the silver fists (for some reason in the U.K. they had red fists). These things are either Very Pricey or badly worn and used. That’s OK, though. Because somewhere, Superman is still punching out bad guys, in space, with a spaceship.

(This article appears in my book I SLEPT WITH YOUR IMAGINARY FRIEND right nnow only 2 bucks in print on amazon. Go buy it.)

MANSTER!

When Squeebles the hamster and ordinary citizen Mark Burrvino end up caught in the same mystical energy wave they merge! Now Mark and Squeebles share a brain, and a body: ostensibly a normal human, possessed of bigger teeth and admittedly furry. And so Mark decides that despite gaining no super powers what-so-ever (though to be fair he has the proportional everything of a hamster – they’re just, you know, hamsters) he will fight crime as:

MANSTER!

Using his emergency MANSTER BALL for both protection and transport, MANSTER will fight crime no matter where it lurks, so long as it doesn’t lurk somewhere too narrow for the MANSTER BALL, really.

Mark is beset by problems:

– Squeebles offers constant advice. In hamster squeaks. Which make no sense to Mark as he doesn’t speak hamster.

– Where did that mystical energy wave come from and has it affected other citizens? (spoiler alert: it has and eventually Mark will meet E-Lizard-Beth and the Pelican’t as well as the evil Steve-anha.)

– He now poops in pellets. That’s just odd.

– He really isn’t great at crime fighting.

MANSTER! A new comic coming never!

And the amazing Lar DeSouza has drawn the MANSTER cover:
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Superman week, day five – Tales of

Here we are at the end of Superman week. Today is all about a few of my favorite Superman stories. They are all available in your local comic shop (Use the Comic Shop Locator or call them at 1-888-COMIC-BOOK). Once more I am joined by Ibrahim Moustafa on art with Jordan Gibson coloring.

I have four favorite Superman stories, and I find that a lot of people who love Superman list most, if not all of them, as their faves as well. They’re just that good. They are, in no particular order:

UP, UP, AND AWAY by Kurt Busiek, Geoff Johns, Pete Woods, and Renato Guedes – Though this story takes place in a strange time as far as continuity goes you can read it knowing exactly one thing. It’s been a year and no one has seen Superman, and that is because he hasn’t had powers for that whole year.

So what happens to a Metropolis and world without a Superman? How does this affect Clark himself? This ends up being a great look at how Superman is far more than a power set, and what it means to try and replace him. It also features the best use of the old “Faster than a speeding bullet, more powerful than a locomotive, able to leap tall buildings” bit in ages.

ALL-STAR SUPERMAN by Grant Morrison and Frank Quitely – This story is possibly the gold standard for Superman. It merges, seamlessly, the golden era silliness and modern storytelling to create an epic that truly earns the name. The book also shows one of the deepest understandings of who Superman is ever written.

All-Star has everything – an amazing, pitch perfect take on Lois, Jimmy, and Lex to start but also just … well … everything. From Quitley’s stunning art to Morrison’s note perfect script it is amazing. There is a scene near the end (no spoilers) where, not long after I read it, I got a phone call from D. J. Kirkbride who asked if I had read the scene because, as he put it, he “heard the music” and I realized I had, too. When you have a moment in a comic that actually makes John Williams’ Superman March play in your head you know you have gold.
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SECRET IDENTITY by Kurt Busiek and Stuart Immonen – This might be the oddest book on my list, since it isn’t technically about Superman. Except it 100% is. Busiek and Immonen craft a story about a guy who lives in our world, where Superman is a comic and there are no super heroes. His name is Clark Kent, because his parents thought it cute. And then one day he wakes up with Superman’s powers.

Now you see how this could go off the rails quick and it sort of sounds, in that brief, like something cheesy possibly. It isn’t. This is a warm, rich, tale of what Superman means. This is the story of a life written in large metaphor, used expertly. One of my favorite Superman stories and no “real” Superman in sight. Because Superman is more than a single character.

BIRTHRIGHT by Mark Waid and Leinil Yu – An extended origin story for Superman, Birthright focuses on the period between Clark leaving Kansas and becoming the superhero we know. Waid and Yu craft a great look at Clark’s travels and trials as he wanders the globe and learns all about different cultures, including eventually, his own Kryptonian one.
Once we land in Metropolis the story is quick to put forth the idea that dropping an alien into our midst wouldn’t go smooth, but that Superman isn’t the sort of guy who gives up, or doesn’t understand. It’s a great story to show people “This is who Superman is.” and is the other book I always mean when I say that All-Star shows one of the deepest understandings of who Superman is ever written – this is the other one.

And that will do it for Superman week, I think. Thanks for reading, and huge special thanks to Ibrahim and Jordan who made each day this week feel like Christmas. And, of course, the biggest thanks of all to Jerry Siegel and Joe Schuster – words can not express how much we owe them.

SUPERMAN WEEK
1: The Man of Steel | 2: The Allies | 3: The Foes | 4: Magic and Captain Marvel | 5: Tales of

Superman Week, day four – Magic and Captain Marvel

We’ve hit day four of Superman Week. Day three looked at Superman’s foes, but today will focus down and look at magic and Captain Marvel specifically. As always I am joined by by Ibrahim Moustafa (Artist of High Crimes) with Jordan Gibson coloring.

Alongside kryptonite, magic is Superman’s biggest weakness. And just like kryptonite, there is more to that than what it says on the surface.

Let’s look at another superhero, though, while we discuss magic. Captain Marvel (or as DC would have us call him now – Shazam) was Superman’s only rival for sales back in the 40s and through changes and challenges both are still around today though only Superman has his own comic book.

Captain Marvel is secretly Billy Batson, and when he says his magic word (Shazam) he turns into an adult with superpowers that basically are the exact same as Superman’s, except Captain Marvel’s are magic based.

Where Superman is a adult, Captain Marvel is literally a child in an adult’s body. Captain Marvel is powered by magic and Superman is powerless against it. And suddenly it starts to make sense.

Magic as a metaphor for the irrationality of youth is a powerful concept and one that holds up alongside our Superman/Captain Marvel dichotomy. Captain Marvel, still being young Billy Batson, can utilize magic to empower him, through the innocence and belief of youth.
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Whereas Superman, having grown older, is powerless against such irrationality, needing to escape into the rational boundaries of science. Of course this is science that we let get away with giving him super powers and shrinking planets, but you know what I mean. Still, Superman’s stories have tended to often go to the science fiction realms – which makes sense given that he starts as an alien brought here by a spaceship from another planet.

It sets boundaries for the stories. Oh, you can do magic stories as well as anything else, in Superman, but they will always clash a bit with his science fiction background. It’s why Mister Mxyzptlk is an interesting foil (and why he didn’t appear yesterday – because here he is now) – as a person who seems to use magic, and yet also lives in a different, higher dimension, you get science and magic wrapped into one in a way that works for Superman. The dimension angle and hard rules (In the original stories Mxyzptlk has to leave when he is tricked into saying his name backwards) counteract the magic in a way that means you can get away with the magic and not feel it is out of place for a Superman story.

Whereas Mxyzptlk doesn’t work as a Captain Marvel foe because he’s too much in line with what Captain Marvel deals with. He doesn’t stand out and becomes just an annoying little dude who floats and wears a derby. The magic makes him stand out for Superman, as does his childish personality. On the other side of the coin though, he would seem flat. Magic is tricky, and needs to be done as a function of character, we can see from here.

Anyway, all of this this isn’t to say that magic vanishes from the adult because of some deficiency, but rather that the wide-eyed innocence of youth lets us see the world in a different way. It’s what makes Captain Marvel so compelling and, in a nice turn, creates a great foil for Superman.

SUPERMAN WEEK
1: The Man of Steel | 2: The Allies | 3: The Foes | 4: Magic and Captain Marvel | 5: Tales of

Superman Week, day three – The Foes

We continue with Superman Week. Yesterday we looked at Superman’s friends, and today we’re going to focus on a few of his foes. Once again I am joined by by Ibrahim Moustafa (Artist of High Crimes) with Jordan Gibson coloring.

And as there are allies that reflect him, so are there opposites that allow us to see Superman for what he is. Today we’re going to discuss four of them:

Metallo – A cyborg powered by kryptonite. I mean, come on, a man who is both more and less than a man with a heart made of the remains of Superman’s home world. Symbolic on so many levels, he can be a great character to pull out. Though I do want to use him to discuss kryptonite itself briefly. I have always loved the idea that one of Superman’s biggest weaknesses was his own past. The planet he escaped is what can kill him.

Dwelling in the past can hold you down and stop you from ever going forward.

To have Metallo who, being a cyborg, is an embodiment of the future, powered by Superman’s deadly past is just kooky in that wonderfully symbolic comic book way.

Parasite – A guy who can absorb the powers of others and use them for himself. Simple, really. Nothing deep or shocking about Parasite, and yet that is what makes him work for me. The idea that he is simply a brute force example of “What if a bad guy had Superman’s power” while also being a great case for having to out think not out punch problems makes me smile. Not the biggest or the best but a solid well to go back to on occasion.
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Bizzaro – The warped, backwards, clone of Superman. Bizzaro is easy to use in silly fun stories and that’s fantastic. He’s not a bad guy so much as he is just… backwards. He talks backwards and thinks backwards and has Superman’s powers but not his heart. He’s tragic really, when you think about it. Bizzaro knows he isn’t Superman, and yet he also feels that he is. He shows us what Superman fears he is -ultimately ineffectual. Through his buffoonish behavior we see someone who tires, and yet his actions are forever the opposite of what he seems to want them to be. But he never stops trying, much like Superman.

Lex Luthor – The billionaire genius. Lex could be a great humanitarian except he is too consumed by his own petty nature. He’s what Superman exists to correct. Lex Luthor is what is wrong with humanity – the jealously, the greed, the ease that he will throw anyone, friend or foe, under a bus to get what he wants. Look at Luthor’s behavior and you see why Superman exists and what he stands for.

It is through our enemies as much as our friends that we shall be known. Superman’s explore the world from his past, to his future to his moral center, each one showing us why we need a Superman, and why we must each be that person in our own lives.

We all know a Luthor, a Parasite, a Metallo and a Bizzaro.

We may think of them as our rival, a weakening of willpower, our past haunting us and the specter of who we fear we are – but we all have them. And the way to defeat them is to be our own Superman.

SUPERMAN WEEK
1: The Man of Steel | 2: The Allies | 3: The Foes | 4: Magic and Captain Marvel | 5: Tales of

Superman Week, day two – The Allies

Welcome back to Superman Week. Yesterday we looked at Superman himself, and today we’re going to focus more on his supporting cast. Once again I am joined by by Ibrahim Moustafa (Artist of High Crimes) with Jordan Gibson coloring.

Like any great character, Superman relies on his supporting cast to flesh out who he is. Now, there are a lot of them but I want to focus on five specific ones: Martha and Jonathan Kent, Lois Lane, Jimmy Olsen, and Perry White.

Let’s start with the Kents. They are, of course, the couple that raised Clark to be the man is become. But think about it for a second – you’re a couple living in Kansas and a ship falls from the sky with an unharmed baby in it. So you just adopt the baby. There’s something interesting there. A naivety, to be sure, but something else. A faith in humanity, perhaps. To take that child and raise him as their own, despite the whole falling from the sky / super powers / alien bit is just interesting. They are, and represent, the classic American ideal where all are welcome and all allowed to become themselves.
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Moving past the Kents, and that isn’t to diminish them but it’s time to move along, we come to the Trinity of Metropolis: Lois Lane, Jimmy Olson, and Perry White. Together they represent the three stages of Clark Kent himself:

Lois is who he feels he is – inquisitive, never backing down, willing to go any length for the truth. Jimmy is who he feels he was – rambunctious, hungry for any experience, finding his limits, and dedicating his life to helping people how he can. Perry is who he wants to be – the wiser tough old goat who has seen the never-ending battle but never given in himself, who has taken his lessons and turned them into ways to inspire and teach the next generation as well.

Lois is even deeper than that, of course. Lois is what Superman loves about humanity. She’s who he tries to be, and reflect back to him the hopes he has for what we can become. She has no amazing powers but that never stops and, if anything, pushes her further. Lois Lane is the single most important character in the Superman sphere, outside of Superman himself.

Without that reflection/desire Superman, and Clark, becomes shallow. He wants the world to be this big hope inspired thing but that’s just words at some level. With Lois in the mix suddenly he has a concrete example. He can point to her and go “This, this is what you could be,” and so of course he loves her.

She’s his idol, in so many ways.

These characters, all told, anchor Superman to the world and let him be more than a symbol. By reflecting for us these facets of who the character is and wants to be they help us understand who he is in a three dimensional way that breathes life into him.

SUPERMAN WEEK
1: The Man of Steel | 2: The Allies | 3: The Foes | 4: Magic and Captain Marvel | 5: Tales of

Superman week, day one – The Man of Steel

Welcome to Superman Week! This week I’ll be looking at different aspects of the Superman legend, starting with the man himself. I’m joined this week, by Ibrahim Moustafa (Artist of High Crimes) with Jordan Gibson coloring. That’s right, every day Ibrahim and Jordan will have a special, exclusive, piece of art to go along with that day’s essay. So let’s get this started!

Superman is both one of the world’s most recognized characters and one of the most dismissed. But that’s all right. He’s down with it. He understands. And that’s the point. Superman isn’t better than you he is simply the best we strive to be. It’s not a question of lording it over anyone, simply knowing what is right and what is wrong and doing the right thing – no matter the cost.

Some how a number of people find this boring or unrelatable. Those people kind of worry me a bit, if I’m honest. A man, an outsider, who can see us for all our flaws and still wants to use his incredible potential to help us rise is the sort of thing that we should cherish not deride. Superman is, at his root, the ultimate expression of hope. He is an idea that has literally changed the world.

That’s not hyperbole, by the way. You can easily argue that the presence of Superman has made the world a better place. Superman spawns other superheroes, bringing in a new heroic myth. Children of all sort pick up on it and use it as a behavioral template. Something to aspire to. Those kids grow up and they’ve imprinted on Superman, as well as other superheroes along the way. The idea of doing good, putting justice first, and fighting for hope end up rooted far firmer in the minds of people while they make their choices throughout their own lives.

So yeah, Superman is pretty important. But who is he?
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He’s the ultimate outsider – holding up a mirror to our own flaws by his behavior. He’s someone who can see us, humanity, for what we are. Despite that he wants to help. He wants us to remember we’re worth helping.

He’s also us – raised as a human, Superman is also Clark Kent. There isn’t a division between them so much as there is between the Clark in Metropolis and in Smallville. The Clark he was as a teen is just who he is. But he had to hide that and so he plays himself down, sinking into obscurity on the one hand, and on the other getting his name out there as a reporter. Odd, isn’t it? For a secret identity it’s pretty public. Because even when he has to hide for his own good he can’t not help.

He’s what we want to be – that person who knows the right thing without having to stumble. The human who understands, deep in the bones, that their risk is outweighed by simply doing the right thing. There will always be a cost and you have to work out how to shoulder it, but you shoulder it instead of shirking it.

Superman is aspirational not inspirational, remember. These ideas aren’t outdated and they aren’t boring. Helping people, fighting for hope and the right thing – those had better not be out dated.

Yikes.

If you think they are, I can only worry about your life and outlook.

As for boring you can write an exciting Superman story pretty easily. You take the internalized drama of doing the right thing, and make it external. So say Superman has to fight a robot. Because hey, kids, robots.

But don’t make it just a robot. It’s a robot built by a guy who built his first robots as a way to make replacement limbs for people cheaper. But he spent all his money making robot limbs that private companies wouldn’t fund that he went a bit wonky and built a robot to just take the money he needs.

Punching the robot is not the answer here. There will be punching as well, yes, but it isn’t the point. The point is helping that dude in the robot. And helping, and inspiring him, to help others again.

Superman is about the belief you have in yourself and the belief you carry for the rest of humanity, and how we need to extend that outward and all grow as a species.

SUPERMAN WEEK
1: The Man of Steel | 2: The Allies | 3: The Foes | 4: Magic and Captain Marvel | 5: Tales of