Superhero Parents: The Hidden Difference

This is part of a series of essays written for Chris Gavaler’s comics class.

What happened to Peter Parker’s real parents? Most people cannot answer that question, and many have never even considered it. But anyone with a basic understanding of comics knows that Parker’s real parental guidance comes from his aunt May and uncle Ben. Because of Ben and May, Peter goes from a nerd given superpowers to a real superhero. Similarly, it is an event related to Bruce Wayne’s parents that transforms Bruce into Batman; if Mr. and Mrs. Wayne survived the gunshots outside of the cinema, Bruce would just be the next wealthy leader of Wayne Enterprises. Meanwhile, in a more modern comic, Ms. Marvel: No Normal, we can see that Kamala Kahn’s parent’s overbearing control actually sets her free and enables her to become a superhero because of her initial need to rebel.

Comics, much like Disney movies, have a tendency to eliminate parents early and to portray them as an obstacle for development. THIS IS WRONG – parents aren’t an obstacle. When parents are taken out of their picture, their guidance still lives on through their children. Parents play an instrumental role in the development of superheroes. But they remain an often overlooked part of superhero comic analysis.

How did Bruce Wayne become a superhero when he has no powers? Bruce and his parents were walking home from a movie when a gunman held them up and shot both Mr. and Mrs. Wayne mercilessly. This moment was incredibly emotionally painful for the young Bruce, but it was also a critical moment in Bruce’s transformation. In a panel in Detective Comics following the blood-soaked concrete of his parents’ death, we see a praying Bruce saying: “And I swear by the spirits of my parents to avenge their deaths by spending the rest of my life warring on all criminals.” With those words, Bruce Wayne begins his physical and mental preparation for his later transformation into Batman. Thus, we can see here that it is explicitly stated that he fights criminals because of his parents’ death and their unforgotten guidance.
 

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Later, the reader is introduced to Batman’s future sidekick, Robin. In the introduction, the young man, named Dick Grayson, witnesses the death of his parents on a trapeze ‘accident’. When the boy plans to call the police, Batman stops him and invites the young Grayson to join his vigilante quest against crime. Of course, Robin accepts the invitation. Batman quickly becomes a fatherly figure for Robin, pointing him in the direction against crime and advising him in the same way Grayson’s father may have. Thus, if it weren’t for Batman essentially adopting Dick Grayson, and for the tragic loss of both of the heroes’ real parents, neither Batman nor Robin would be stopping crime.

Why did Peter Parker, a nerd mad at the world and given superpowers, decide to use his powers for good? Peter Parker — the “teacher’s pet”, “science nerd”, “mama’s boy” of high school — is given supernatural powers in a classic superhero development story. An irradiated spider falls from the ceiling and bites Parker, shocking him with a jolt of power relative to that of a spider. Needless to say, Peter’s life changes – now the kid who got bullied has an opportunity to be the bully. Prior to the surge of power, Peter had said that he loved his aunt and uncle but that “the rest of the world could go hang, for all [he] cares!” Initially, Peter’s childish attitude and apathy towards helping others with his new powers leads him to miss an opportunity to save his uncle from death. Consequently, Parker proceeds to have a life filled with regret. He feels forever in debt for the guidance that uncle Ben gave him, and he also feels a responsibility to help his aunt May because of her becoming a widow. Uncle Ben left Peter with some extremely valuable words, and Peter never forgot them: “With great power there must also come – great responsibility.” Those words define Peter, and uncle Ben’s death serves as an awakening for Peter to recognize the importance of helping others. Still, it is aunt May that serves as his constant reminder to always act with honor.
 

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Ms. Marvel is not a classic comic. It’s maybe not even a comic you’ve heard of unless you are an avid superhero comics reader. However, Ms. Marvel has gained significant media attention since its publication because of how different its protagonist is from many other superheroes. She is given her powers from a spiritual hallucination of Captain Marvel. Kamala Kahn struggles through her teenage years until this Captain Marvel offers her an opportunity to change and to break away from her overbearing parents. Kamala had been feeling pressure from her parents and was stressed about her identity, so this transformation allowed her to develop into a hero. Initially, Ms. Marvel is uncertain about what to do, but before she can seek action, the excitement finds her. Before entering the scene and helping a drowning girl though, Ms. Marvel recalls a lesson from her father that reminds her that “whoever saves one person, it is as if he has saved all of mankind.” With this lesson in mind, Ms. Marvel acts heroically. She continues to act with this moral compass throughout the story, and several more times she attributes her good deeds to the guidance of her parents. Thus, it is the overbearingness of Kamala’s home that forces her into rebellion and leads her to her powers, and then it is the guidance of her parents that make her a true hero.
 

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Many of us would perhaps call your own parents “superheroes”. In our lives, it is our parents who enable us to face stress and to feel loved. With this idea in mind, it is unimaginable to consider a world without them. Incredibly, both Bruce Wayne and Peter Parker harnessed their emotions and used events relating to family and past guidance to turn themselves from powerful people into superheroes. Meanwhile, Kamala Kahn gained her powers because of a dislike for her parents’ control, but then trusted her parents’ advice most in hard times. Thus, all of these characters gained their powers by different means, but they all are superheroes because of the everlasting guidance of their parents.

Frank Miller Triumphant

Frank Miller (c. 2016) is the Donald Trump of comics. Not merely because he’s demonstrated some ebullient racism, not because he really hates Muslims, not because of his warped ideas about women, but because of the general incoherence of his vision. The sad thing is that Miller considers Trump a bit of a “buffoon.”

There’s a whole article to be written about Miller’s political beliefs from the 1980s to the 2010s: how a man who wrote a satire on Reagan and Nuclear Armageddon could transform (?) in latter years into such a reactionary (presumably he always was one); how an artist who created a comic about an all conquering female ninja and her masochistic, castrated male partner (he only gets an erection when he submits) could come to see women in latter years as harlots. I guess Freudians would put this down to a Madonna-Whore complex.

Frank Miller the thinker is a slightly knotty problem, but there’s nothing especially complex about the drawing hand of Frank Miller circa 2016. The one time master of dynamic movement and page composition has hit rock bottom and his fans aren’t amused.

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He has a 12-page back-up story in The Dark Knight III: The Master Race #4 which is little more than one big fight scene with some barely sketched out characters just limply hanging in blank space. Then Aquaman appears in all his shoddy glory and…the end. This is a rigorous reflection of the story in the main body of the comic which is also little more than an extended fight scene between Superman and his daughter, with Batman and Carrie Kelley as spectators. Remember the scene in The Dark Knight Returns where Batman beats Superman to a bloody pulp under some street lights like the lowlife street mugger he is? Well, the new comic is yet more fanservice for Batfans who think the Man of Steel sucks (Miller is the inspiration here, not the cause).

But it’s not all corrupt—if you take individual panels out of context you can still see some remnants of the old artist. A silhouette here and some adequate superhero posing there.

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Still, no one really cares about Miller’s subliterate backup story; the internet is far more disgruntled by his series of covers for DC. The most recent culprit is his portrait of Wonder Woman for a DK3 #4 variant cover.

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Yet for me, this seems closer to that time when Trump emerged from a relaxing spa a few months back and said that he would be friendly with Russia—which is infinitely preferable to World War 3 I should add.

Yes, she looks a bit sullen but not everything needs to be fun and games a la Marston and Peter. He’s on song again because of the nostalgia he has for the warrior-child motif from his days as a fan of  Lone Wolf and Cub. The thing isn’t conventionally erotic or pornographic; this Wonder Woman doesn’t want to make love to you; she doesn’t even want to be tied up with her sorority girlfriends. She just wants to beat you up, hence the gorilla-like stance with her fists on the ground. The breasts are a wee bit big but they’re covered and it could just be the armor doing the talking. The bicycle shorts are cool and the stars quite well drawn. Anyone who knows anything about recent Miller will tell you that this is “decent” Miller as opposed to OMFG Miller. To wit:

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I will accept intimations that this image is a natural extension of Miller’s penchant for night spots of all sorts in his sequential work, and thus a homage to drag queen clubs; maybe a bad homage but a homage nonetheless.

Every few months, Miller releases his new modernist vision of superheroes to the world to the general consternation of the Twittersphere. And every time, one of these images appears, the internet expresses equal parts astonishment, outrage, and delight that something so grotesque should exist in this universe. It’s like stepping on some dog poo just as you’re about to get into work—you have to tell someone because it just stinks. If you don’t, they’ll find out and then where would you be?

Everytime one of these things hits the stands, it’s as if Miller is pulling out his dick and saying, “Fuck you, DC! And fuck your pet rabbit!” The most obvious screw you was his infamous Superman with a package (he packs to the right) splash page/cover.

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Miller fans point to moments like these as expressions of his genius and his innate feminist instincts—the drawing hand may be withering but that brain! It still works and wants to let the supermen (and their cocks) have it as good as the superwomen.

The people who go to conventions and collect original art were well apprised of this paradigm shift in Miller’s abilities at least a few months in advance of the general public, with responses ranging from delight at owning a hand drawn masterpiece from the Master to earnest attempts at retrieving whatever vestiges of dignity remained in the art—the equivalent of trying to pick a really dry piece of snot from your nostrils. Utterly disgusting for all concerned.

Any hesitation to declare this a sharp deterioration in artistic prowess does not simply reside in the level of respect Miller has garnered over the years from the fan community but the simple fact that you simply don’t make jokes about the afflicted. And Miller has looked pretty ill for some years (the exact nature of his ailment is a mystery). The internet gasped with incredulity when Miller took a photo with Stan Lee recently.

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But there’s every indication that he’s on the mend. The recent photos while far from hearty are still a significant improvement over those from not so long ago. Like a mud-caked Batman in The Dark Knight Triumphant, Miller is having it out with the Mutant Leader. Something is telling him to stop with the art but he’s not listening to it; and that’s all for the best.

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So if you’re sick (and there is by no means any public confirmation of this) and are still able to support yourself, I think more power to you. And if you want to do a Dark Knight IV all by your lonesome in years to come, well, I guess why not—DC deserves it, and fuck “artistic legacy.” But, you know, get Klaus Janson to help out a bit I think, now that you’ve both kissed and made up. Because there’s really no shame in getting help, especially when not getting help results in this:

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These monstrous ninja zombies are of course depictions of Miller most famous creation, Elektra; which sort of makes sense considering her resurrection in Miller’s early Daredevil comics. I guess if you created the character, you get to decide if the lady has flat-rectangular shaped nipples or has a tattoo of Matt Murdock on her left thigh or has glow in the dark areolae. There’s little doubt that Miller considers most of these images transcendent spank material.

Speaking of which, how much do you think this wank material is worth? $2000 maybe? You need to account for the fact that we’ve had several suppositories of Quantitative Easing for close on 10 years (though with nary an effect on inflation). So maybe $4000-5000? Miller is a living legend in superhero circles afterall. Apparently a nice big Batman sketch like this goes for somewhere in the region of $10-12K.

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The Elektras? 8.5-9.5K. There were nasty rumors circulating that customers who bought an Elektra stood a better chance of getting a Batman. When I heard about this from a fellow collector, I assumed it was a buy one and get one free deal. But no chance, Frank Miller (and his handlers) are nothing if not great businessmen.

Which only goes to show that you don’t need close readings or a smattering of comics history to understand the baseline ethic at work here.  When exciting new conceptions of the decaying female form  are greeted with ready wallets, then Capitalism dictates that we sell them. As for the rest, DC will just have to suck it up because they started it first.