#And hates Superman because he threatens that “truth” by simply existing

[bet-on-me-13]

Lex Luthor turns himself into a Halfa

So! We know that the 2 Natural Halfa's in existence were made when a Portal opened up on them. All other Halfas were either Cloned from one of them or is one of them from the Future. Once is Chance, Twice is Coincidence, so someone decides to test if Three is a Pattern.

Lex Luthor had discovered Vlad Masters secret after hacking into his Company Files to try and get some dirt on him, which then led him to the secure Server holding his Halfa Research. And Lex was intrigued.

2 Seperate Occasions where a Halfa had been formed in nearly the exact same way? It was promising. And from Masters' Notes on his own biology, the Powers he would gain were just what he needed to defeat that lumbering oaf Superman.

He had always been superior to the rest of Humanity, always thought himself to be a God among men, and with this it would be Literal. Lex would be a God.

So, he took all the Data he could from Masters, stole some from the Fentons as well, and made his own Portal. He would never risk somebody else gaining the Power he so desperately sought, so he didn't risk testing it on someone else first. He was the Smartest Man Alive, a God Among Men, his math was right.

He jumped into the Machine, activated it, and the 3rd Natural Halfa was Born.

[geek-gem]

You know I had thought about this on October 13th on Sunday.

Yet I felt like I feel I don't wanna make this huge thing yet it will be big. But this is something I wanna make about the future with the DC Black Label films that we will see more about Joker 2019.

Yet it's not a whole lot. Considering I'm more of a fan of both Batman and Superman. These ideas were inspired by mentions of film ideas Warner Bros can do. Also I'm also choosing some actors for these characters.

So here's an idea.

These DC Black Label films that started with Joker all take place in the same universe. Despite I understand the concern this may limited some story telling. But the main focus of these films is that while the DCEU focuses on bigger films. The DC Black Label films can be character studies such as Joker. Yet it's not just villains it can be for other characters.

But here is just me being lazy. I've seen people mention the Question and Vandal Savage to get fimms. To be honest I'm not very familiar with the characters but I'll welcome them if they ever get made.

Some of these films can take place in different time periods but it depends on the story.

Here are my ideas for some casting choices and movie ideas. Sorry if these are lazy but I just wanna get there done.

1: A Lex Luthor film taking place in the 2010's simply titled, "Luthor". Starring James McAvoy as Lex Luthor(a casting choices I've seen and I strangely like it) in a film that's both an origin and maybe showcasing Lex's fall or so.

Yet compared to that take considering a Lex Luthor film is rumored after Joker became successful.

I want Clark Kent to be in this film. But possibly as a supporting character or a character that shows up quite a bit. He's not played by Henry Cavill in this universe. In the movie he's seen as a reporter. But in this DC Black universe while it's focus isn't on the spectacle and whatever else. Clark is still a Kryptonian. But he keeps it very well hidden. Yet there are hints that he's not like everyone else such as his grip feels quite strong, he says he's adapted, and there are stories and newspapers of a flying man wearing an S on his chest helping people. But it's not the focus of the story.

My humorous take on the ending of a Lex Luthor film is his ego is literally threatened by Superman's existence. Despite it's also a actual reason why Lex hates Superman in all seriousness.

2: A Lois Lane film. Starring Bryce Dallas Howard as Lois Lane(which is also why I reblogged some Bryce Dallas Howard related posts just recently). Guessing the title can be, "Lois Lane" or so. Also taking place in the 2010's.

The reason I didn't pick someone younger because Bryce was the first on my mind. Including I feel like she's kind of perfect. Also a weird idea if a film like this doesn't happen. This may sound stupid but if Any Adams never comes back in the DCEU. I think Bryce is a good choice because it's to keep Lois consistent or something in the DCEU.

The film is probably her upbringing as a reporter for the Daily Planet and how far she'll try to find the truth. This film idea may seem weird compared to the likes of, "Joker" and, "Luthor" but it's to keep the DC Black Label film gallery from just being filled with villain movies. Because I feel like you can do some stuff with these films who aren't villains. Including as someone who likes Lois as a character. I think Lois fans and DC fans might be interested in something like this.

Also there's this idea that this film idea could be connected to that, "Luthor" film and Clark is in it too as a supporting character.

To be honest while I get the take with these DC Black Label films and what they might try to do. I as someone who strangely likes to respect the source material or doesn't want everything to be as super realistic, I just wanted to keep Clark in there. Kind of like how Bruce Wayne was in the Joker movie. Despite with Batman it's much easier than with Superman.

Yet to also keep the idea while these character studies are pretty realistic, there is this idea of fantastical elements existing. It all depends on what character they do.

3: A Bane film. Starring Dave Bautista as Bane. Considering Dave wants to become a more serious actor and people want him as Bane. So this is my idea, and yeah it's just called, "Bane". Taking place throughout parts of time leading up to the 2000's.

The concept of the story is basically Bane's backstory as he grows up serving his father's life sentence in prison in Santa Prisca. Including as he grows up and develops into the character we know. Especially later becoming the test subject for a new drug named Venom.

Including the film can be in a way a, "Knightfall" prequel.

4: Really I do wonder if a Scarecrow film is even possible. But it's just I love @imjustheretoseetheprivateblogs 's fan casting of Bill Skarsgard as Johnathan Crane/Scarecrow. He could be the character for his own film or maybe somewhat better in Matt Reeve's upcoming Batman film or so.

Listen I just wanted to get this done. This is me just being lazy. Including comparing these to what Joker did. Which didn't take a lot of inspirations from the comics despite having, "The Killing Joke" as a basis for the movie.

So it all depends on who is making the film. I just wanted to put these out there. These were kind of my unorganized ideas that I tried to be realistic about. Done with the tags I'm putting this in the DCEU Positivity for more traction okay, especially that bit I talked about Bryce in the DCEU.

Edit after the first reblog of this, I'm not the biggest fan of James McAvoy being Lex. Thank you @imjustheretoseetheprivateblogs for that awesome fan casting of Tom Hanks you deserve credit.

[the-light-followed]

THE LIGHT FANTASTIC (1986) [DISC. #2; RINCEWIND #2]

“What shall we do?’ said Twoflower. ‘Panic?’ said Rincewind hopefully. He always held that panic was the best means of survival; back in the olden days, his theory went, people faced with hungry sabre-toothed tigers could be divided very simply into those who panicked and those who stood there saying ‘What a magnificent brute!’ and ‘Here, pussy.”

Rating: 5/10

Standalone Okay: No

Read First: ABSOLUTELY NO.

Discworld Books Masterpost: [x]

* * * * * * * * * *

If The Colour of Magic is a bad place to start reading Discworld, The Light Fantastic is 100% worse.  Not because it’s bad, because it’s absolutely an improvement on its predecessor.  It’s just that The Colour of Magic ends on a cliffhanger (only in the metaphorical sense; in the literal sense, Rincewind has just fallen off the cliff).  The Light Fantastic picks up exactly where it left off, with only a little exposition or explanation to soften the shift from one to the next.  I tend to think of The Light Fantastic as more like The Colour of Magic: Part 2, Now We’re Getting Somewhere, because, well, now we’re getting somewhere.

Folks, we finally have a cohesive, over-arching plot! We have stakes greater than “let’s not get killed by this latest thing that wants us dead!”  We have purpose, and drive, and successful barbarian heroes so old they lack teeth and have to make dentures out of diamond, and I love absolutely every bit of it!

In what will quickly become obvious is the norm for him, Rincewind’s life continues to be a series of upsetting things happening one after the other.  Some highlights from The Light Fantastic include:

Being forcibly teleported (back) onto the Disc by the parasitically-attached Great Spell living in his brain, after falling over the Rimfall.  Reality is completely rewritten to do this, but everything remains exactly the same except Rincewind’s new position clinging to the top of a pine tree.  (Twoflower gets dropped back onto the Disc as well, but that seems mostly incidental.)

Going to the land of Death while still alive, picking up his mostly-dead friend, and running right back out to the land of the living.

Camping in the mouth of a giant troll the size of a mountain, while being held captive by mercenaries.  Somehow only the mercenaries end up dead.

Being attacked by wizards and Things from the Dungeon Dimensions, and fighting said wizards and Things in life-or-death battles.

Using the most powerful magical book on the Disc, possibly the most magical item full-stop, and then afterwards, allowing said item to be eaten by the carnivorous sentient Luggage for safekeeping.  Rincewind ends up owning the Luggage before the end of the story—so technically, he still has this wildly dangerous book.

Oh, and saving the world, of course.  He also does that.

I love, love, love the way Pratchett writes ‘heroes’ vs. how he writes his protagonists.  Absolutely none of his protagonists are the stereotypical hero, and his stories are better for it.

Quick sidetrack to define terms: when I say ‘stereotypical hero,’ I’m talking about the kind of lawful good protagonists you see in most high fantasy adventure stories or superhero comics, the stuff with worldwide or even cosmic stakes.  They’re typically well-trained or have some kind of special skills, or they acquire special training/skills along the way.  They almost always set out specifically to save the world, and typically do not have any ulterior motives beyond it being ‘the right thing to do.’  Usually, they’re strong and rugged manly men with impressive jawlines.  I’m talking Aragorn from Lord of the Rings.  I’m talking Captain America and Superman.  I’m talking the real Boy Scout types.

Truth, justice, and apple pie—or whatever the regional-specific pastry of choice might be!

Pratchett’s heroes are not that.  They’re cowards.  They’re scared or confused or unprepared, or making the whole thing up as they go along.  They’re fools, alcoholics, con men.  They’re salty old ladies and know-it-all young girls.  If there is a stereotypical hero-type character, they’re going to be a foil for the actual main character, and they won’t stay perfectly pure and uncomplicated for long—I’m thinking specifically Carrot, though we’ll talk about him later when we get to the City Watch books.  

Here, what we get is Rincewind.  And he is as far from a stereotypical hero as it is possible to be, probably because he would have started sprinting full-speed away from the thought before anyone finished saying it out loud.  Rincewind doesn’t save the world because he suddenly found his courage, or developed bonus superpowers, or found some kind of magical sword to do the fighting for him.  (He actually found the sword back in The Colour of Magic, hated every second of it, and got rid of it as soon as possible.  Goodbye and good riddance to Kring the magic sword.)  He hasn’t secretly had the courage inside of himself all along.

Rincewind saves the world because he’s got nowhere left to run, and that’s excellent.

I’m going to save a lot of my rambling about Pratchett’s deconstruction of the concept of ‘heroes’ for when I get to Guards! Guards! and later City Watch books, since Carrot is, like I said, both the main example and the central thesis.  But it is very important for everyone to understand: for me, nothing is more satisfying from a literary perspective than knowing that, at the end of the Discworld series, coward and hero-only-by-accident-or-mistake Rincewind is one of the two people in contention for the spot as ‘ultimate savior of the world, the universe, and all of existence.’  The other is a teenage girl.

Honestly, the only reason I think Rincewind might edge her out for the title is because he technically saved a slightly larger slice of reality with this whole escapade.  In Tiffany’s defense, I’m 98% sure she hadn’t been born yet when this whole thing went down, so we really can’t blame her for not solving it first.  If she were there, she’d have it handled, and that’s just objective truth.

But Rincewind.  Rincewind.  At the end of The Light Fantastic, the dude’s spent two whole books screaming and running whenever something tries to kill/maim/eat/threaten him.  The audience has absolutely figured out by this point that while he’s smart and sarcastic and surprisingly speedy, he’s totally useless in a conflict.  His priority is saving his own skin, not dashing feats of derring-do or whatever it is heroes are supposed to do.

And yet with the end of the world looming, his back against the wall, and no real place left to run, when the Big Baddie demands that he give up the last Great Spell, the one last thing preventing the immediate destruction of everything and everyone, we get this from Rincewind:

“If it stops anywhere, it stops here, thought Rincewind. ‘You’ll have to take it,’ he said. ‘I won’t give it to you.’”

And that’s it.  That’s what saves the world.  Not a stereotypical hero, not a hero of legend, not a mythic champion showing up for a final glorious battle—it’s a Pratchett hero.  It’s an everyday guy, a coward and a failure, dragged in by accident and against his will.  It’s an average person, nothing really special, who looks at something that he knows is wrong and that he’s sure will hurt him for disobeying.  And yet he still says no.  It stops here.

Even rats fight back, as Rincewind himself says.

This is the moment that really sells me on Rincewind’s character, every time.  Even before Pratchett was really taking Rincewind or the Discworld seriously, even while the whole thing is still one massive joke more often than not, he’s still given the readers a POV character who feels believably real.  He’s scared shitless, he’s tired, he’s sarcastic, and he doesn’t want to be there.  But that’s too damn bad, because he’s the one there, and if he doesn’t do this, no one else will.

And maybe Rincewind’s not Superman, but he still does it. He succeeds, he saves the day, and—despite everything—he’s somehow the hero of this story.  Screaming all the way, maybe, but he still gets it done.

[Paul Kidby does incredible Discworld art, including some of the amazing cover art for the books.  You can find a lot of it on his website— www.paulkidby.com.  This one,The Colour of Magic, stars Rincewind, Twoflower, and their dramatic escape from the Wyrmberg.]

While we’re on the subject of heroes, we can’t skip over Cohen the Barbarian, who makes his debut here in The Light Fantastic. Now, Cohen is technically a hero, but this is still not in the ‘stereotypical hero’ sense—it’s literally his job.  It’s the thing he writes in the little box marked ‘Occupation’ on his tax forms, or at least it would be if he actually paid any taxes.  Or if he actually wrote things down.  

For Cohen, being a hero is how he makes a profit and pays the bills, and he is very, very good at it.  That’s 100% objective truth, and I know that for sure, because the man is old as the hills and still gets into life-or-death fights about twice a day, and that’s the sort of thing that gets you dead very quickly if you aren’t very good at what you do.

But Cohen still isn’t a stereotypical hero.  He does a lot of looting and pillaging, and his body count over the Rincewind books is—wow, it’s up there.  It’s a real doozy.  It’s hard to call his work heroism when it’s hardly a smidge to the left of repeated, outright murder.  I’ll probably circle back around to this in Interesting Times and The Last Hero, because there are some really interesting points made there about the ways that Cohen and his contemporaries play at heroes and villains like they’re a sort of performance they’re putting on rather than a moral act or a choice made out of necessity. But I will say now that putting Cohen in the same storylines as Rincewind really does put both characters into a more complex and interesting light.  Rincewind, the coward-not-hero, and Cohen, the fearless warrior, can kind of play off of each other.

It just goes to show Pratchett’s grasp of people as people, and not unidimensional cardboard cutouts.  Nobody’s always right.  Nobody is always wrong.  And real people don’t always stand up to perfect, pure concepts of what we think they should be.

Also, since Cohen is about a billion years old, we get little gems like his toothless lisp before he picks up some dentures, a concept that Twoflower brings with him from the Counterweight Continent.  (Or, as Cohen calls them, dine chewers.  That, friends, is a pune, or a play on words.)  Also, because he’s Cohen and therefore a dramatic bastard, the dentures are solid diamond.  It’s not as if the man can’t afford it, I guess?

I do want to take a little side trip into some other new details that pop up in The Light Fantastic, specifically the more in-depth stuff about Unseen University and the wizards.  The wizards are a lot of fun in the early Discworld books, specifically if you’re really bloodthirsty, because up until Ridcully arrives in Moving Pictures there’s quite a lot of turnover in Unseen University staff. The wizards are backstabbing bastards early on, and it’s almost jarring to compare the shifty, power-hungry jerks in The Light Fantastic and Sourcery to the fat, lazy hedonists they’ll become. We do get an impression of them as a collective that will stay pretty consistent as we move forward: their values, their skills, the way they do magic.

This is important not only because it establishes a lot of lasting detail for stories involving Rincewind, the University, and the city of Ankh-Morpork, but also because we’re about to get our first glimpse of the witches.  (Hey-o, here comes Equal Rites!)  With a lot of this stuff mapped out in advance, it makes it easier to run a compare-and-contrast of what’s going on with the two main schools of magic users on the Disc, what’s different between them, what’s the same—and the positives and negatives in them both.  (Again, hey-o, Equal Rites!  That all is about to be the whole damn point.)

I think it’s also fun to note that The Light Fantastic features the brief run of Galder Weatherwax as Archchancellor of the Unseen University, A.K.A. He Who Dies So Granny Weatherwax Can Have His Frankly Excellent Name.  Granny Weatherwax is the steel-souled spine of the witches, and the driving force of their run of books, and it’s kind of hilarious to think that Terry Pratchett did the writer’s equivalent of digging through a graveyard to give her a name.  This theft is later lampshaded and then ignored; Granny says something briefly about Galder Weatherwax being a distant cousin she barely knew, and the whole thing is never mentioned again from then on out. I can’t exactly remember where, and it might even have been in a short story or one of the side books Pratchett eventually put together, not in a novel.  Honestly, who cares—Granny Weatherwax is such a force of nature that it only takes a few minutes to forget that her name ever could have belonged to anyone but herself.

But Granny Weatherwax is not a discussion for The Light Fantastic.  It’s time to move on to Equal Rites!

* * * * * * * * * *

Side Notes:

This is the book where the Unseen University Librarian is changed into an orangutan.  It happens early on in a magical accident, as the grimoire containing the Eight Great Spells attempts to save Rincewind and the spell trapped in his mind, and he is never reverted to human form.  

He is referenced but does not appear in The Colour of Magic.  

At no point anywhere in the Discworld does he appear in human form.  At no point does he have lines in human language.  He is never named.  At no point is he described as he was prior to this change, except that the orangutan he becomes is initially said to look “like the head librarian,” so presumably he was already a bit orangutan-ish. 

For something as weird as this is, and for something with such long-lasting repercussions, it is treated in the moment as a thing of very little importance—except, of course, that now he has to be paid in bananas.  I find this absolutely delightful.

Tim Curry plays the wizard Trymon in the BBC miniseries The Colour of Magic, which combines The Colour of Magic and The Light Fantastic.  Trymon only appears in The Light Fantastic in the books, and I can’t read it anymore without picturing Tim Curry in his ridiculous robes and shoes, with his ridiculous overdramatic murder plots, working his way up to the top just to die a ridiculous death.

No, really. Look at this hat.  Look at this goatee.  Only Tim Curry has the acting chops to pull this off.

Death once again appears, and this time we also get to see his house and his daughter, Ysabell!  I can see why it didn’t take long to go from here to Mort: the concept is way too good to leave to little snatches and side appearances.

Krysoprase the troll shows up for the first time in this book.  Later, he’ll be known as Chrysoprase, and will make appearances in several other Discworld novels: Feet of Clay, Wyrd Sisters, and, notably, Thud.  There’s also a troll named Breccia in The Light Fantastic; Breccia will become the name of Chrysoprase’s gang in Ankh-Morpork.

While going through my copy of The Light Fantastic to work on this post, I glanced at the cover and briefly thought I was losing my mind.  At the bottom, there’s a blurb talking about beloved Discworld character “Conan the Barbarian”—but up until that moment I was 100% certain the beloved barbarian on the Disc was named “Cohen.”  Turns out I’m not crazy, it’s just that the literal cover of the book decides to make a reference to the character that Cohen is parodying rather than to Cohen himself.  And this is the 2008 print edition, not an early run or a badly-assembled e-reader edition, which means it’s being released by a professional publishing company a full 22 years after the original novel came out.  It’s not like nobody’s had time to look over the material and do some copy-editing.

* * * * * * * * * *

Favorite Quotes:

“The important thing about having lots of things to remember is that you’ve got to go somewhere afterwards where you can remember them, you see? You’ve got to stop. You haven’t really been anywhere until you’ve got back home.”

“Do you think there’s anything to eat in this forest?” “Yes,” said the wizard bitterly, “us.”

“Not for the first time she reflected that there were many drawbacks to being a swordswoman, not least of which was that men didn't take you seriously until you'd actually killed them, by which time it didn't really matter anyway.”

“Are you a hero, actually?” “Um, no. Not as such. Not at all, really. Even less than that, in fact.”

“What shall we do?’ said Twoflower. ‘Panic?’ said Rincewind hopefully. He always held that panic was the best means of survival; back in the olden days, his theory went, people faced with hungry sabre-toothed tigers could be divided very simply into those who panicked and those who stood there saying ‘What a magnificent brute!’ and ‘Here, pussy.”

[hellyeahheroes]

Cleansing the Crimes of Old Krypton: Comparisons Between Superman #1-6 and Supergirl #1-6

Ever since the rise of the comic-book anti-heroes, Superman and his family were positioned by writers in the opposition to them. This is a natural progression for those who understand the character’s roots as the hero of the little folk. Such qualities are resonating with the liberal and socialist ideals. Meanwhile, antiheroes often voice ideas that would be very terrifying if said by real-life politicians. The efficiency being presented as more important than human rights or collateral damage. The idea that the justice system only stops the protagonist from doing what’s necessary. An approach where stopping the bad guys is more important than protecting the innocent. These ideas can easily be applied to politics. And as a result, lead to authoritarian or outright fascist thinking. Don’t get me wrong. Some people claim if Batman won’t kill the Joker, he has the blood of Joker’s future victims on his hands. I’m not saying they’re cheering Donald Trump saying federal judges who overruled his ban on Muslim Immigrants are to blame if a terrorist attack happens. But we need to recognize the parallels.

Many successful antihero stories were built on exploring the consequences of this approach. You can find those themes everywhere from The Authority and V for Vendetta to Code Geass. Sadly, lately, we have a continuous increase of those problems being glossed over. And not only for actual antiheroes but even more upstanding characters. Especially in movies. Once paragons of virtue on big screen become terrifying. And yet we're supposed to cheer when they commit atrocities. Violating borders of a foreign country, intruding on people’s privacy, destroying an entire city in battle, murdering people. It all becomes not only justified but even glorified. They say it’s okay for “good guys” to do those things. Because otherwise, we’re all going to die. Because they’ll stop once the danger is gone, pinky swear. Because only the bad guys get hurt and killed. So relax and handle all the power and no accountability to those guys, they need it to protect you.

Superman stories often tackled this issue. Sometimes results is a compelling, meaningful voice in the discussion. Other times we get an awful, hypocritical story. That is given praise regardless because it sticks it up to the other side. “What’s So Funny About Truth, Justice And American Way” and it’s adaptation “Superman vs the Elite” are a prime example. There Superman proves wrong the Authority knockoffs who claim that might makes right. By beating the living shit out of them, thus proving that might do indeed makes right…. if you’re Superman. Thankfully, two stories I want to talk about do not have this problem.

For inspirations, both stories reach back. To a tale of 4 individuals that tried to replace Superman after his supposed death - Reign of Supermen. Superman books under Rebirth banner, in general, try to recreate the feel of that era. Superman is dead and his replacements start showing up. Kenan Kong in the New Super-Man, Lana Lang in Superwoman, even Lex Luthor dons the cape. But DC managed to have their cake and eat it too. The main Superman book still has it's Man of Steel. It's Superman from another Universe, with wife and son. He is more in line with old DC Continuity, compared to Superman that died. Meanwhile, Supergirl reaches to feel more like beloved TV Series, even if Kara is still a teenager. To connect with Reign of Supermen both books use a different way. They reach for its “bad” Supermen - Eradicator and Cyborg Superman. They also revamp them to have them fit a specific purpose.

Or use earlier revamps, as is the case with Cyborg Superman. Before Flashpoint this name was held by Hank Henshaw, a scientist with a grudge. In New 52 he is the man who had sent Kara to Earth from Argo, last surviving city of Krypton. Her father, Zor-El. He failed to save the whole colony and is desperate to undo past failures. He turns dead corpses of his citizens and even wife into cyborgs like him. But to regain sentience the need to consume life force of intelligent beings. Then Zor-El hears Kara cry in her moment of doubt. She question she’ll even be able to fit on Earth and how strange and, well, alien, our customs are for her. Her father doesn’t hesitate. He decides to invade Earth, harvest humanity to resurrect Argo and take his daughter back.

Eradicator was absent from New 52 era of DC, to resurface in Rebirth, with a simplified origin. Before Flashpoint it was an alien A.I. obsessed over Krypton. In Rebirth Eradicators were created by General Zod. It was a mechanical police force used against both criminals and political rivals. This one came back to life through contact with the blood of Superman’s son, Jonathan. And then vowed to protect and restore Krypton’s legacy. Starting with the last heir of House of El, Superman himself. Clark is reluctant to trust the robot when it offers to examine Jon’s health and fluctuating powers. Turns out it was a good call. Eradicator decides that being half-human half-Kryptonian, Jon is impure. And that the best way to heal him is to eradicate human part of his DNA. Jon would become fully Kryptonian, but also cease to exist as a person he was up to this point.

Both those villains have a history of representing darker shades of Krypton. In old continuity, Eradicator was a go-to explanation for every Krypton-related bad thing. Villainous interpretation of Zor-El is nothing new either. Before Flashpoint his whole motivation was "He hates his brother, Jor-El". He didn't send Kara away to save her, but to make her kill Kal-El. He had brainwashed his own daughter to make her a weapon against her cousin.

If anything, this version of him comes off as, if not sympathetic, then at least pitiable. Flashbacks show us he was a caring, loving father, who sent Kara away to protect her. It makes it much more tragic to see how far he has fallen. Even Kara starts to feel bad for him over the course of the story. She recognizes in him a man haunted by his failures, whose actions are a desperate try to fix everything. But Supergirl still calls him out. She points out that he doesn't care about anything but himself anymore. If he did, he’d see how twisted his “solution” actually is and try to find a better one. The results were more important than how he achieved them. And things like mass murder became merely means to an end. It doesn't matter how many he has to kill. It doesn't matter he turned his wife and friends into mechanical monsters. Once he gets them back, everything will be back to normal, he tells himself. He expects his wife and daughter to go back to their old life and ignore all the blood on his hands. He is delusional. When his wife regains part of her mind, she sacrifices herself to save Kara's adoptive mother. She'd rather be dead than part of this. Does it get to him? No. because for Zor-El it doesn't matter how appalling his methods are. Only that he wins.

Both Zor-El and Eradicator are operating on racist and xenophobic assumptions. They see everyone who is not Kryptonian as inferior and disposable. The whole idea of a Kryptonian living with human family is appalling to them. Zor-El several times states he never meant for Kara to stay on Earth forever. He expects her to simply abandon her new home, now that it served its purpose. He also mentions in passing wars betweenKrypton and other races. It's implied they were as horrible as what he is doing now. Meanwhile, what is Eradicator? A Kryptonian version of police brutality and law-enforcement being used for political reasons. All these factors make the reader ask a question neither of the villains bothered with. Should you bring old Krypton back? If Kryptonians were warmongering xenophobes, then why should they return? Who is to say if they do, they won’t go down the same path again? Neither Eradicator nor Zor-El makes a strong case against this argument. Not when they’re willing to stomp into the ground anyone who stands in their way.

We live in times when people in power tell us we need to give up parts of our freedoms for our own protection. That we need to do whatever it takes, no matter how unethical, to protect our way of life from “the enemy”. Even if it means crushing rights of those different from us. This is no different from many anti-heroes in comics. How often do we see one accusing more restrained superheroes of not having what it takes to “get the job done”? Or claim not only are they too weak, but people they protect are dumb masses easy to sway and control? Those themes are still being explored by creators of both books. Peter Tomasi and Patrick Gleason do it through later Superman villain, the Prophecy. Lord Havok and the Extremists serve this role in Steve Orlando’s JLA. But it isn’t enough to have heroes beat this type of villains. What is even more important is how they beat them. As I mentioned above, in that kind of stories it’s easy to come off as a hypocrite, if you play your hand wrong.

Luckily, even on that ground, the stories are on point. Neither Superman nor Supergirl can defeat their enemies alone. It is the strength of family, friends, and allies that allow them to overcome this threat. As Kara says, she isn’t on Earth to inspire humans – they inspire each other. Threat Eradicator and Zor-El present cannot be defeated by an individual. It needs the united effort of everyone it threatens. Even average people like Cat Grant or Bibbo Bibbowski have their part to play. It’s love, family, and unity that save the day.

And in true classic fashion, they are both shown mercy. While Eradicator’s physical form is destroyed, Superman’s very aware that’s not enough to kill him. Meanwhile, Cyborg Superman ends immobilized and imprisoned. The story ends with Kara hoping to find a way to save her father. If you follow solicits you know they’ll both be back in May’s Action Comics. Some might complain about the never-ending nature of superhero comics. How no victory is ever meaningful because the villain will come back. It’s one of the major problems raised by supporters of the antiheroes. But looking at those villains a metaphor for fascist tendencies, it works. Fascism can be beaten, but it cannot be killed. It will always find a way to creep back under a different name. The weakness of anti-hero stories lies in them giving the reader a fake sense of finality. They tell us we have to do whatever it takes, even if it’s immoral and unethical, to win against the evil. That once we beat it, it’s gone and we can go back to normal. But that’s not true. Evil is forever and it will keep coming at you in new forms. We can see it in today’s world as well. Not so long ago many folks would say fascism died when WWII was over. Allies victory over this evil was final and definite. The questionable choices made by them like bombing civilian cities, were justified because fascism is now dead. Once put down it will never rise to power again. And then Richard Spencer and Steve Bannon started making the news…..

The purpose of this text is not to bash on fans of the antihero characters. But when working with them it's important to show their questionable aspects. Otherwise, they can become propaganda tools for the worst kind of people.