DC’s Action Comics #1000 Sneak Peak Animation

2018 marks the 80th anniversary of Superman! And while DC won’t be celebrating it properly until April with the release of Action Comics #1000. They released a lovely little sneak peak to the upcoming celebration in the form of a short animation.

It feels heavily reminiscent of the animation released for the 75th anniversary. Though the 75th anniversary animation pays tribute to multiple versions of Superman. Including George Reeves and Christopher Reeve’s interpretation, right down to Reeve’s flying scene over the Earth.

2018 already has a lot planned for the Man of Steel. Including the aforementioned Action Comics #1000, the return of the red trunks and the take over by Brian Michael Bendis (which I’m still on the fence about). Here’s hoping DC peppers the year with more of these lovely little added extras!


Time and Deconstruction

Deconstruction in media is something I find intensely fascinating. And while this video by Under the Scope is a great exploration of deconstruction in anime, particularly in the ‘magical girl’ (Puella Magi Madoka Magica) and ‘giant mech’ (Neon Genesis Evangelion) genres (though it was strange to hear someone refer to the show School Days as a deconstruction of the ‘harem’ genre). What I find puzzling about the evidence he uses, is possibly my own experience with discussing deconstruction. Particularly, calling Neon Genesis Evangelion a deconstruction of the ‘mech’ genre.

A few months ago, I wrote an article discussing how the deconstruction aspect of a piece of work is waisted, when that piece of work is recommended or introduced above and before the thing being deconstructed. A deconstruction without reference. The two examples I used were Watchmen, which is often praised as one of the greatest comics ever written (personally, I think it’s just ok, but I didn’t read it at the time of creation), and often on the top of ‘comic you should read for beginners list. And I paired that with Neon Genesis Evangelion for an example in another medium that is also highly praised, and first to be recommended to newbies.

The two most common responses I got to the piece had nothing to do with the content, but argued that Neon Genesis Evangelion isn’t a deconstruction, and no one reads Watchmen first. And that I’m an idiot for thinking so. I did a little research into the profiles of the people who commented, and concluded that a lot of them were either relatively new to anime, had read Watchmen recently, or were jumping on the band wagon of the first few commentator’s due to other posts they had made being contradictory to what they had later said.

This makes me wonder something else about the nature of deconstruction. With both works being creations of (arguably) a different generation. The mid 80s for Watchmen, and mid 90s for Evangelion. Has the passage of time, and the effect these works had, changed how we view the media enough for them to no longer be considered deconstructions?

In the case of anime, Evangelion’s release spear headed a dramatic shift in the medium. Particularly in the production of original television properties. This change also allowed writers such as Chiaki J. Konaka to bring works such as Serial Experiments Lain to the screen. The Youtuber Digibro describes this shift well in his video How Evangelion Altered Anime Eternally. Concluding Evangelion’s full effect kicking in, with the series Now and Then, Here and There. Taking on the familiar trope of a young boy being transported to a magical new world. Something usually seen in a show aimed at young children. Only to be met with a dark dystopia, full of twisted characters, and plot devices including murder and rape.

In the realm of comics, Watchmen was part of a one-two punch, along with Frank Miller’s The Dark Knight Returns. Eventually culminating in advertisements for comics presenting them as “Grime, Gritty, Grown up”. These kinds of stories lead to darker storytelling, particularly in the worlds of superhero comics. A genre created for a primary audience of children, and grew in the wake of the second world war, as a means of hopeful escapism. This darker tone has continued to reverberate through modern comics, particularly in DC. With the ‘Rebirth’ relaunch acting as a course correction, and the storyline ‘The Button’, and the current ‘Doomsday Clock’ actively blaming the darker tone on the Watchmen characters. Particularly Dr Manhattan.


But this all leads back to my initial question. Is something still a deconstruction, if the deconstruction has become part of the norm?

  • Digibro (2017) How Evangelion Altered Anime Eternally. [Online] YouTube. August 3rd. Available from: https://www.youtube.com/watch?v=tJ3F_hhzJ3o [Last Accessed: 01.01.2018]
  • Johns, G. & Frank, G. (2017 – 2018) Doomsday Clock. DC Comics: Burbank.
  • Miller, F. (1986) The Dark Knight Returns. DC Comics: Burbank.
  • Moore, A. & Gibbons, D. (1986 – 1987) DC Comics: Burbank.
  • Neon Genesis Evangelion (1995 – 1996) TV. Directed by Hideaki Anno. [DVD] Studio Gainax: Japan.
  • Now and Then, Here and There. (1999 – 2000) TV. Directed by Akitaro Daichi. Studio AIC: Japan.
  • Puella Magi Madoka Magica (2011) TV. Directed by Akiyuki Shinbo. [DVD] Studio Shaft: Japan.
  • School Days (2007) TV. Directed by Keitaro Motonaga. [DVD] Studio TNK: Japan.
  • Serial Experiments Lain (1998) TV. Directed by Ryutaro Nakamura. Studio Triangle Staff & Studio Pioneer LDC: Japan.
  • Under The Scope (2016) What Actually is A Deconstruction? [Online] YouTube. July 5th. Available from: https://www.youtube.com/watch?v=qBuo4vi_A0s [Last Accessed: 01.01.2018]
  • Williamson, J., King, T., Fabok, J. & Porter, H. (2017) The Button. DC Comics: Burbank.




Superman: Speeding Bullets (1993)

Time for a trip to the Elseworld titles! A series of stories set in the DC universe but out of continuity. A chance for writers to flex their creative muscles and ask ‘what if’ questions. Superman: Speeding Bullets was released in 1993 and written by J.M. Dematteis with art by Eduardo Barreto. The ‘what if’ in this case is a little bit strange but very fascinating. What if Superman was Batman?

The cover is just fantastic. Using the iconic image of Superman flying over the city that appeared on Superman #01 in 1939. Instead of a yellow background, the cover reflects Gotham’s aesthetics with a gradient of black to grey. Superman strikes the same pose within the oval, but his costume is replaced with a modified Bat suit. Noticeable, his face is covered with a full mask, similar to that of Spider-Man, rather than a cowl. The emblem on the chest is a perfect fusion of Superman’s shield and Batman’s yellow oval design with the overall shape being that of the shield, and the bat stretching out inside. The style, particularly in the cape, feels inspired by the work of Norm Breyfogle or Todd McFarlane. For this darker take and Superman’s Alien status, the style of cape works perfectly, as it gives it the feel of having a mind of its own. Even the books title box corrupts the original image. Taking the smooth curves at the edges and giving them a jagged horn like appearance.

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Throughout the book we have narration, asking what it would be like if things turned out differently. We see a rocked escaping a planet as it explodes, a green glow all around. The rocket travels through space and crash lands just outside of Gotham City, where it is discovered by Thomas and Martha Wayne along with their butler Alfred. Inside is a young boy, Kal-El of the planet Krypton. Through pages styled to look like a photo album, we see the young boy grow as Martha and Thomas decide to adopt him, naming him Bruce Wayne. Martha dotes on the child, stating to love him as though she had given birth do him. Thomas was intrigued by the boy’s ability to quickly take to his lessons. How the boy was so agile, never a bruise or broken bone. Thomas was compassionate and kind, concerned with testing his mental and physical limits. He imparts to Bruce:

“The cowards and bullies use violence. But you – of all who live – must aspire to something better. Something higher.”

They were a family. Happy, without worry, and with a bright future ahead.

However, the point of the book is ‘What if Superman was Batman’. And one constant in the mythology of Batman is the death of the Wayne’s. Leaving the Monarch Theatre, Bruce shouts about how he want’s to be Zorro. “Defender of the weak. Righter of Wrongs”! Martha jokingly mentions that last week he wanted to be John Carter, and before that Sherlock Holmes. As they round the corner, they are confronted by a mugger demanding their money and Martha’s pearls. During the struggle, both Martha and Thomas are shot and die in front of Bruce as he cries on the floor. The mugger turns to Bruce gun pointed, and as Bruce looks up to him, full of rage, Bruce’s powers activate, and he blasts the mugger with his heat vision. The mugger runs in fear, his face burnt and Bruce struggles to control what’s happening to him.

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The mugger is revealed to have been found the next morning, his body burned almost beyond recognition. But is identified as Joe Chill. Because of course. Young Bruce is found by the police, eyes wide, covered in his parent’s blood. After the funeral, Bruce is left in the care of his butler Alfred. Over time he grows and matures, but the guilt and shame still run deep through him, always at the forefront of his mind. At the age of 21, Bruce is bitter to the world, looking through the paper he sees nothing but blood and madness. Nothing but violence and death. As he tosses the paper aside, we see an article informing us that Lex Luther is coming to Gotham City. Because so far there has been far more Batman than Superman in this Superman story, apparently. Bruce unlocks a door to reveal hundreds of newspaper clippings tacked to walls, all relating to acts of senseless murder in his city. As he looks around, he begins to enter a panic attack, thinking about his parents and wanting it all to stop. He runs through the mansion before he realises that people have broken in and holding Alfred hostage. Pointing a gun at Bruce’s face. In a fit of rage, Bruce knocks them all side, even throwing one out the window. As one fires bullets right at him, they simply bounce off. Bruce crushes the gun in the criminal’s hand as his heat vision activates, terrifying the criminal. Alfred watches on, as Bruce breaks down remembering what he did to the man who killed his parents.

In a cave beneath Wayne Manor, Alfred and Bruce look through Thomas Wayne’s journals. As Bruce looks around, testing his super vision, He asks Alfred if he can see his ‘brothers’, referring to the bats in the cave. Testing his flight, Bruce flies among them.

“There’s so much I can do… That I’ve never let myself know I can do.”

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Cut to another location in the city, a man behind a desk telling his men just how disappointed he is in them. Based on his purple and green outfit, brief flashes and pale skin, as well as the maniacal laugh, it’s clear who he is supposed to be. Condiment King. Obviously. He’s chewing them out over their inability to break into a mansion even with the equipment they were given. One of the men starts ranting about how Wayne is crazy, that he put Charly through a window. In retaliation, they are both strangled on the spot, as the figure laughs to himself.

Two months later, the GCPD are after a man on the roof, Mick Johnson. He’s firing at them from up above when a shadowy figure descends upon him. The Batman has arrived! In a flurry of panic, Johnson fires several rounds at Batman only for them to rebound off. In a final moment of panic, Johnson throws a grenade straight at him, only for Batman to catch it and let it explode in his hands. Batman throws Johnson over the edge, letting him fall, before swooping down to grab him and throwing him into the arms of the GCPD.

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The next day, the media is having a field day over the appearance of a cloaked flying figure in the night. Luthor is looking over the paper during a meeting as he is attempting to take over Wayne Enterprises. Just as he’s about to sign the papers, Bruce walks into the meeting telling him that it’s not going to happen. Luthor doesn’t know who he is at first, meaning that Bruce is not very well known publicly, or doesn’t have much involvement with the company. Which leads me to wonder what exactly he has been doing over the years. Bruce puts an end to the deal, saying that he plans to be much more active in the company’s management and dismissing many of the people in the room. As Bruce leaves, it’s clear that Luthor is far from pleased.

Bruce stops off at the Gotham Gazette, the cities local paper and one he now owns, and meets the editor-in-chief Perry White, as well as running into the Gazette’s newest recruit, Lois Lane. Just arrived from the Daily Planet in Metropolis. Around Lois, Bruce becomes a bit a buffoon. Stumbling over his words and knocking into desks. It’s heavily reminiscent of a phrase from Superman: Secret Identity by Kurt Busiek. “If I sound smitten, don’t read too much into it – it’s because I am.”

At this point, it becomes clear that the narrator is Lois. Talking about how she expected Gotham’s famous recluse to be a lot of things, but not a shy, stuttering klutz, referring to him as charming, adorable, and disappointing all at the same time. Walking through the streets, Luthor’s car pulls up along side Lois, offering her a ride home. Lois accepts but Batman is watching from the rooftops. In the car, Lois and Luthor talk about how much things have changed, Luthor alludes to an accident that has changed him as he tries to slip his hand up Lois’s thigh. Lois slaps him across the face and is thrown out of his car. Fifty blocks from her apartment, Lois finds herself on the street with a group of men cat calling to her. They attempt to attack her just as Batman swoops in to save her. After knocking out the guys, he reaches out a hand to Lois asking if he can help. After the events of the night, Lois slaps his hand away and asks him to get away. Batman flies away just as the police arrive to help.

Back at the Gazette, late at night, Lois is typing up an article based on the man who saved her and the state of violence in the city. Bruce finds her there, and Lois instantly questions his appearance. Bruce says that he’s just getting some work done while it’s quiet and asks her what’s wrong. Lois tells him everything about her night, and describes Batman, saying that he has an “utter disregard for human life!” That he could do so much more for the world with those powers. She compares Batman to Bruce, his idealism and dedication, using his wealth to help others. The pair embrace and kiss in the middle of the office. Interestingly, this is a nice little twist on Lois preferring the meta-human to the bumbling co-worker. But even with the change of name and identity, Kal-El and Lois still feel like they are made for one another.

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A few weeks later, a man furiously enters the offices of the Gotham Gazette and demands to see Mr. Wayne. As he crashes his way through, we see his purple and green suit and as he bursts into Bruce’s office, we see that the man is Lex Luther. Removing his hat and prosthetic skin to reveal a bleached white face and thick red lipstick. A jokerised Lex Luthor! Who saw that coming… Bruce jumps up to confront him, only to be blasted back by an umbrellas gun. As Bruce falls out of the window behind him, Joker/Luthor kidnaps Lois and escapes into the night with a small flying machine strapped to his back. As they land on the top of a tall building, complete with devil horned gargoyles. Batman flies in and grabs Joker/Luthor. Flying him high into the sky as narration talks about how Luthor wants to use chaos and violence to take over the city. As Batman announces to Joker/Luthor that he sees him as an “Insufferable Maggot”, that he is going to kill him. Joker/Luthor begins to laugh telling him that he’s just as mad as he is, wouldn’t he agree. As Batman screams “YES!” he throws Luthor to the ground from high above the city, as Lois watches on with the saddest of expressions on her face. Batman looks down at Lois, seeing her face and flies back down and catches Luthor, telling him that he’s going to jail in order to save the city. Batman takes on the hordes of tanks and men working for Joker/Luthor that have been trying to tear apart the city during this whole ordeal. When he’s finished he flies back over to Lois making sure she’s ok.

Lois: “What you did tonight… it was different. Not hate… not vindictiveness… not wasting your gifts on terror and brutality. With your power – There’s so much more you can do. Instead of flexing your muscles… stooping to the level of the very people you’re trying to stop – you can rise above all that. Stand as an example. A symbol of hope.”

Lois reveals that she knows Batman is Bruce Wayne and the pair embrace once again and fly off into the night.

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As the story comes to a close, Lois continues talking about how all of this could have come out so differently. How different the man she loves could have been if he had landed somewhere else. Even making reference to Superman: Red Son as well as the main continuity. As the words play out we see a brighter figure fly over the city of Gotham, and the final page reveals a bright new costume for Bruce, and the new name of SUPERMAN!

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In the end, the story is mainly about nature verses nurture. Not just for Superman but Batman as well. Superman is often called the most human of us all, despite his alien origins. This is largely contributed to his upbringing among salt of the earth people on a farm in Kansas. Batman is often the first to bring it up and often talks about what he would do if he had that kind of power. The book works as a good character study on these ideas. While certainly not the first story to do this for either Batman or Superman (and definitely not the last). Superman: Speeding Bullets is a fine addition to the Elseworld library.


Mister Miracle by Tom King #1 – #6 (2017 – 2018) Breakdown [Part Two]

[Part One can be found here!]

Issue #4:

We return to Scott after his ordeal with Orion. Laying in bed recovering with Barda by his side. They are visited by Lightray, who informs Scott that after the events of the last issue, Scott is accused of being an agent of Darkseid and must stand trial or face execution. Furious, Barda sends Lightray way, covered in a few bruises. The pair spend their night in front of the TV, discussing the trial to come while still trying to hold on to a touch of normality.

Mister Miracle 04 (2018)

A full-page spread shows us Scott performing what could be his final show, before cutting to Scott and Barda’s apartment. I moment of fun before the trial. This brief interlude for Scott’s performance makes masterful use of the 3×3 page layout, especially in the use of space. Orion and his men arrive, and the trial begins in the comfort of the apartment’s living room.

Mister Miracle 04 (2018)sdfgsgsd

Orion appoints himself as Accuser, Defender and Judge as Highfather of New Genesis, announcing that Scott is on trial for Treason against Gods. On Orion’s command, Scott may only answer statements as true or false, that he must answer true to his own beliefs and not his doubts. As the questions go on, Scott struggles to clarify himself when answers are grey, punished for replying with anything other than True or False.

Orion: “You are an agent of Darkseid. True or False?”
Scott: “False.”
Orion: “Now. An agent of Darkseid would deny he was such an agent. True or False?”
Scott: “True.”
Orion: “An Agent of Darkseid would also accuse the Highfather of being an agent of Darkseid. True or False?”
Scott: “True.”
Orion: “You have made both of these statements today. True or False?”
Scott: “True”.

Orion continues to push Scott, until he finally snaps and makes Orion bleed. A god, the Highfather, bleeds. As Orion and the others leave, Barda cradles Scott in her arms.

Issue #5:

Scott and Barda, mostly in costume, are stood outside the Chinese theatre imprinting their hands in the pavement for the crowd, all the while their dialogue plays over the top. Debating what to do about Orion and how they stand by each other. They are met by Funky Flashman, an old Jack Kirby allegory for Stan Lee, who tries to spin a great angle on the events going on. Trying to turn his upcoming execution into a spectacle. Scott and Barda make it to their hotel room, a chance to finally relax and lovingly spend the night together.

Mister Miracle 05 (2018)

The next day, knowing what lies ahead of them, they decide to spend their day together. While stuck in traffic, Scott asks Barda if their Motherbox could play whatever song was playing when they first met, with Barda replying they met in the Pits. Scott jokingly has the box play the sound of screaming, and the two share a laugh while stuck in traffic. They have lunch, visit a fair, watch the sunset on a beach, and the night sky from the car, all the while discussing the nature of life, gods, and existence.

Mister Miracle 05 (2018)asdff

Back home and in bed, Scott is awoken by Funky Flashman and the executioners from New Genesis. Flashman continues his bravado while Scott grabs his costume. Taking a breath, Scott prepares to leave, before Barda takes out the executioners and Flashman, telling Scott only one thing.


Issue #6:

Body disposal is the first call of the day, the pair watching the remains burn away in front of them. They know what they need to do, and where they need to be.

Mister Miracle 06 (2018)adsfadf

Battling there way through New Genesis, fighting off guards, breaking down walls, and avoiding security systems abound. Barda takes this time to talk to Scott about remodelling the apartment. Talking about making the kitchen a little smaller while decapitating a guard. Arguing back and forth about how much space they really need even when danger is breathing down their neck. It’s when Barda brings up turning half of the Livingroom into a second bedroom, Scott questions why they are having this conversation.

Scott: “But… So we’re in the Living Room? Who’s in the new room?
Barda: “Next to the new Bathroom? It’ll be nice.”
Scott: “W-wait. Who’s in the… new Bedroom?”
Barda:” Scott. So. I’m Pregnant.”

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When the coast is clear, Scott embraces his wife, and for the first real time since the series started. Scott is happy.

At the gate to the Highfather’s throne, Scott discovers the body of Orion mutilated on the floor.  Darkseid waiting. Darkseid is. As Barda enters, she finds Scott shaken to his core, sat on the throne, eyes wide open.

“I saw the face of god.”


6 issues in and Tom King has crafted a masterful tale of PTSD and depression like no other. With 6 issues still to come after the break, it’s anyone’s guess what else is instore for Scott Free. Mister Miracle. Super Escape Artist.

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Bendis and Superman [Rant]

Comic Book Resources broke a story earlier that finally announced Brian Michael Bendis’ plans at DC. Having announced his leave from Marvel, in which he worked for 18 years and created characters such as Jessica Jones and Miles Morales. Noted for his work on Ultimate Spider-Man, Avengers, Guardians of the Galaxy, and the countless events he’s initiated and written.


On a personal note, I loved Bendis’ early work, having come out in my childhood and early teens. Particularly the early Ultimate Spider-Man and House of M event. However modern Bendis feels as though he’s lost a fair amount of his spark. Struggling to finish up storylines he starts, forcing Marvel into universe changing events that shake up the characters in OTHER PEOPLES books. Professor Thorgi on YouTube sums up a lot of Bendis’ problems in a handy video.

The idea of Bendis moving to DC, while at one point laughable, seems like a good change of pace for him. A new world to write in, new characters to play with. It was announced a few weeks ago that his first work for DC will be as part of the Action Comics #1000 book. Completely unsurprising as he is a celebrated author and it’s a major milestone. However, the question still remained as to what Bendis would actually be doing for DC. What would be his main book?

Given Bendis’ preference and talents for writing young heroes, one existing book and one possible book seems like the perfect fit for him. Blue Beetle and Shazam! Given that he would also be just getting started in the DC Universe, putting him on a less high-profile book for a little while feel like the right thing to do. However. As CBR broke earlier, Bendis will be starting off on a Superman mini-series (decent idea and rather fitting given the name is Man of Steel, the same name as another former Marvel writter’s series, John Bryne), before taking over both Superman and Action Comics. The main problem here is that Bendis taking over both books is completely unnecessary and could lead to trouble down the line. The very same trouble Marvel have found themselves in in the last few years.

“Following the miniseries, Bendis will write both Superman and Action Comics. The former will relaunch with a new #1, while Action will continue its numbering, with Bendis’ first issue being Action Comics #1001.” [Gerding. 2018]

On the main Superman title, Tomasi and Gleason have been doing an amazing job. Being able to explore the family dynamic, as well as proving multiple times over that they understand the character. In Action Comics, which I can’t overly speak for as I am just about to start reading it, we have Superman veteran Dan Jurgens doing another celebrated run. Both titles have been holding strong with legions of fans. The problem with Bendis taking over both titles is that this gives him tremendous access to characters that could bring about earth shaking cross over events every few months. A problem at Marvel that many argue Bendis started. It feels like this decision from DC is giving Bendis too much power far too quickly.

To add insult to injury, Bendis’ take over Superman will set the book back to #1. Another problem Marvel currently has is a constant string of number 1 issues. DC during the Rebirth initiative proved that they understood this problem and did their best to return a number of their flagship titles to their original numbering. A decision which has lead to the landmark of the #1000 issue of Action Comics.

This decision feels like it’s done out of desperation. One made just to capitalise on a writer who people know, without taking into consideration the writers history. Time will tell, but frankly, my hopes are low.


Mister Miracle by Tom King #1 – #6 (2017 – 2018) Breakdown [Part One]

So far, the current Mister Miracle series is half way through it’s run and Tom King is creating something that is deeply hard to ignore. In a series that could be written off as nothing but a cash in for the 100th birthday of Jack ‘King’ Kirby. Tom King’s Mister Miracle is an amazing and compelling exploration of PTSD and depression through the eyes of Scott Free, the world’s greatest escape artist.

Issue #1:

The tone is set immediately with a full splash page of Scott Free alone in his bathroom still partly in costume and blood dripping from his wrists. A razor blade on the floor and a disheartened look on his face. This is not going to be a happy-go-lucky story. We watch him slowly recover in the hospital, Barda crying in the waiting room and the same look on Scott’s face. Mitch Gerads’ use of a 3×3 panel layout perfectly setting the beat. The voices around Scott are encouraging or praising but even then, he continues with the same disheartened and defeated look. The words ‘Darkseid is.’ Following him through panels. Even the use of colour adds to the tone, colour all around, but still with this drab overtone. As though people are trying to brighten Scott’s world and mood, but his reality and pain still holds through.

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At home with Barda, Orion appears without explanation. Even with this sudden appearance, Scott’s expression does not change. Even with the events that take place. It’s Barda that takes action. King writes Scott through the issue as a man apathetic to life. The world’s greatest escape artist who couldn’t escape living. Someone who had already given up but can not end it. His moments with Barda, even with his apathy are sweet for how hard she is trying, and how much she cares.

In public, especially in interviews, Scott is able to laugh it all off. Play it as a stunt that went wrong. He continues to charm the crowd but the words ‘Darkseid is’ still follows. As time goes by, Scott’s grip on the world loosens, ‘Darkseid is’ begins to beat through the pages like a heartbeat until it can’t be ignored any longer.

Mister Miracle 01 (2017)

Dressed for battle, Scott and Barda know what they need to do. Standing. Darkseid awaits.

Issue #2:

“Death Lashes out for Mister Miracle. Super Escape Artist! But it is not the end, friend! What lies ahead is to be dreaded even more. A trap sprung by a mind not of this Earth. The terrible. Inescapable. X-pit! Also – to know her is to hate her – Granny Goodness!”

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In the heat of battle, we find Scott fighting for New Genesis. Through the battles, we see Scott finally letting out some of the aggression and frustration he built up since his incident. Screaming “For Genesis!” as he’s covered in the blood of his enemies. Back with Barda, still soaking from the green blood of battle, we find a sweet moment for them both. Just casual talk. A tone that while still apathetic in majority, shows at least a moment of calm for them. Debating how these off-world showers work, even momentarily joking. Barda complains of her own perceived imperfections as they undress, and Scott simply replies, “You’re perfect”.

At the throne of the Highfather, Scott discovers that his brother Orion is now the leader of New Genesis. Barda and Scott are ordered to kneel, and the tension simply leaps off the page. Scott needing to be dragged down low. It’s reported that Darkseid’s forces have defeated their men in the East, losing 250,000 troops and seven of the gods. In retaliation, Scott is ordered to go after the woman who tortured him through childhood and win the battle. He must return to Granny Goodness.

Mister Miracle 02 (2017)

As they leave, Scott and Barda discuss their lives under Granny Goodness. How much pain and despair they suffered, how they found each other there, and yet while comparing experiences it’s clear that Scott got the better life. Even in hell. Their meeting with Granny, even with the pleasantries, carries this dreadful tone tensions rising with every panel. At the end of it all, it’s Barda that deals the killing blow. The paranoid pill follows them home.

Issue #3:

Safe at home, Scott has nightmares about his past. The battle they both just survived, and the image of his insane brother holding the head of Granny Goodness, remembering a terrifying story she used to tell him at Christmas. His night continues as he restlessly paces around the apartment, seeking comfort from a pill. Forager, a soldier under Orion, appears by Scott’s side. Telling him the horrors that are still going on back on New Genesis. The amount of people dying under Orion’s rule. That their Queen’s head now hangs alongside Granny Goodness’s. Forager pledges his men to Scott, claiming Orion is dead, only to be executed on Scott’s couch by one of Orion’s men. With the same dull and lifeless expression on Scott’s face, he returns to bed and Barda, holding her close.

Mister Miracle 03 (2017)

In his colourful costume, the bright sky behind him, Scott returns to life as an entertainer. The world’s greatest escape artist. Performing for his fans. During a post-show lunch with Barda, he’s even approached by a fan and takes a photo with them. Scott continues to bottle his pain, hide it from the world. He knows what he is to many, and that he can’t just lash out. In full costume, he finds himself confronted by his brother. Arguing about the war at hand. Darkseid, and the Anti-Life equation. In anger, Orion beats Scott to the ground and unmasks himself. Sneering with nothing but contempt and superiority on his face. The page distorts as Orion repeats, “This is the face of God”.

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[Part Two Here!]


The Return of Superman’s trunks!

2018 marks two very important milestones for the Man of Steel. The 80th anniversary of the character and the 1,000th issue of Action Comics, the comic he debuted in. None the less Superman fans the world over are excited by these major milestones. These are not just milestones for the character, but for pop culture as a whole.

DC Comics had originally announced that the 1,000th issue would be released in hardcover format and would feature stories from various creators. Including Brian Michael Bendis’ first DC work, and stories from Scott Snyder, Peter Tomasi, Patrick Gleason, Tim Sale, Marv Wolfman, and many more yet to be announced.

Today (January 19th), DC announced another way they will celebrate the landmark issue. The return of Superman’s iconic trunks.


The trunks are not only a staple of superhero iconography but a classic component of Superman’s look. The reason we associate underwear on the outside with superheroes is because of Superman. But going further back, the look comes from circus strongmen who would traditionally wear tight spandex to show off their muscles while performing. The trunks were added out of fear of their spandex ripping in unfortunate places. Superman’s creators Jerry Seigel and Joe Shuster took much of the iconography of circus strongmen in order to emphasis the strength of their creation. The cap and boots added from the world of professional wrestling and to emphasis movement. Particularly the cape.

During the 2011 reboot of DC Comics, known as the ‘New 52’. Many superhero costumes were redesigned, with the most noticeable one being that of Superman’s. Discarding the iconic trunks and giving the entire suit a thin armour appearance that made no real sense for the character. In 2016, DC rebranded themselves with DC Rebirth. Bringing the classic Superman and Lois Lane back into continuity. While his initial introduction back into this new universe did include the classic costume for a glorious half an issue in Superman: Lois and Clark. But Superman still chose to use a trunks-less costume. In Action Comics # 967 Jon, Superman’s young son, asks Superman why he doesn’t wear his old suit. A question echoed by many real-world fans.


Shortly after this exchange in the Superman Reborn storyline, Superman did indeed receive a new costume, though not the return of the trunks. This new suit was still a massive improvement over the New 52 designs. With full red boots, and a redesigned belt incorporating some yellow but it’s still not the classic suit many crave.

The return of the classic look, regardless of how long it will last, is still amazing news to many and a truly wonderful way to celebrate both the 1,000 issue and 80th anniversary.