#death of superman arc

[madametamma]

MORE THEORIES FOR SEASON 3

Here's my other predictions so far

Now usually "Reign of the Supermen follows" "Death of Superman" But what if we change the order a little bit.

Super boy shows up early in the season, created to outshine Superman and replace him. He's trying to be cool, he's pretty cocky. Clark is a little weirded out over being cloned at first but once he actually gets a chance to talk to the kid, he gets over that really quickly.

The press is trying to ramp up a rivalry between the clone and the Kryptonians. Who's better/cooler and why, but Superman let's Superboy know that he's not going to compete with him. He just wants to do good and wishes Superboy luck in helping to make the city a better place.

THEN we get Doomsday. everyone is trying to help out to beat this thing. Supergirl, Superman, steel, everybody. Super boy is overwhelmed and terrified because this is so much different than stopping crooks with normal guns. His creators tell him to do it because they see him as expendable and replaceable but Clark genuinely wants to make sure everyone's safe, Superboy included.

Superman manages to push Doomsday back to the Phantom zone and him and the monster get trapped with the only one around to see it is Superboy and his creators who've been watching from a body cam. They push Superboy to release a statement that he saw Superman die.

Superboy doesn't feel right about lying but his creators tell him that there's no way Superman is going to get out of the Phantom zone anyway and that this is his chance to be the #1 hero.

This kicks off a string of other heroes trying to replace Superman, or claiming to be the real Superman since no body was found. Most are just ridiculous knock offs and Lois Lane has been on a roll exposing them all (One good thing is that her career is on the rise to the point where people consider her the official word on whether or not someone's legit, the downside is every other aspect of her life is falling apart since Clark's been gone)

One who calls himself 'Cyborg superman' rises above the others might be the best contender for "Real resurrected superman". He looks just like Clark and seems to have all his powers albeit with cybernetic modifications. He claims his memories have been jumbled since the fight but knows a little bit of who he is. (It's actually Henshaw trying to cozy up to Lois just enough to make her release a statement that he's the real deal.

Lois is driving herself nuts trying to find out whether he's real or not. Stuff about him doesn't seem like the real Clark even with the excuse that he doesn't remember everything, but also she's sleep deprived from grief and second guesses if maybe she's just not on her A game.

Superboy knows the truth and after an inner conflict of what is the right thing to do, decides to go to Ms Lane with the truth. Kara and Jimmy race to find a way to free Clark from the PZ and the cyborg Superman turns on Lois, demanding she release a statement of his legitimacy or else. Superboy tries to protect her as best as he can until Clark can be freed, leading into the final battle of Superman vs Hank

[punkeropercyjackson]

Clark:Why does everybody keep saying they make a mean mac n cheese?Why's it gotta be mean?Why does everything have to be evil?So much hate in the world😔

John:I make a tender,caring roast chicken that'll kiss you so so much

Karen:I make a mac n cheese so good you could fuck it

@moonage-gaydream @insomniac-jay @honeypotsworld

[thesulkycroissant]

Lately, I've been thinking about the portion of the Death of Superman arc where Clark’s parents have to just watch the world mourn for Superman and treat him like an oddity / not a real person, while they're simultaneously not able to openly mourn because as far as everyone else knows, Clark Kent is just MIA. Just the sheer torment of that. Keep thinking about Martha watching the television while they treat Superman's death like a spectacle and crying, "He's our son!"

Anyway, I'm writing a fic about Martha and Bruce talking right now, and I think they would really bond over their feeling that Clark needs and deserves to be protected, too.

[tiffycat]

Tried again drawing big blue + maws clark

[hmslusitania]

the more comics I read the more absolutely baffling and weird the choices they made for the Young Justice show become, but I just think. As long as they were going creative with it. Kon and Kaldur should’ve spent most of season one making out

[desperatecheesecubes]

See the mental unwellness in me is telling me that I should combine all the reading guides for the Young Justice crew together to get the true full YJ reading order, but I feel like that would just immediately become overwhelming. But I might do it anyway lmao.

[navree]

if i had a nickel for every time a famous and influential batman story arc had both superman and jason todd playing a pivotal role, i'd have four nickels, which really isn't a lot but it is weird that it's happened four separate times over three decades

[msfcatlover]

Sometimes reading comics is fun because damn, there is some WILD shit in there!

Other times it’s just a headache. Because damn, there is some wild shit in there. Often all at once. Way too fast. Why would you cram all this into a single story arc? Why.

[hamartia-grander]

i still have yet to play bg3 so i still dont go here yet but Wyll seems literally like one of the most compelling characters of all time and im not even joking. I havent even played the GAME but his character arc haunts me /pos. people are literally just racist to say that he isn't compelling

LITERALLY. He's utterly fascinating. He is a folk hero, a legend, the fantasy equivalent of superman. He's a warlock who is secretly pacted to a devil. He hates devils. He's an incredible liar. He's incredibly sincere. He's silly. He unironically enjoys puns and clowns. He over-exaggerates his Blade personality because it amuses him. He sometimes doesn't know where The Blade ends and Wyll begins. His hero-ness is a performance; not to hide ill intent, but to hide a broken man, to hide weaknesses and fears. It's who he is. It's always been a distant thing, a mask. It's who he thinks he must be. He loves freely and openly and will let anyone know it. He's only ever wanted to know he's loved. He still thinks his father's inability to trust or believe in him was all his fault. He still thinks that every bit of suffering he's ever experienced was all his fault. He thinks admitting to suffering would be disrespectful to the lives he's saved. He thinks he has to suffer or else his sacrifices were worthless. He thinks it couldn't be a sacrifice if he didn't suffer for it. He would take any suffering if it meant lessening someone else's. He is the first person to stand up for someone's life and safety, the first person to defend someone's worth and autonomy. He is the last person to do so for himself. He is of the least importance to himself.

He needs to be needed, because if he's not needed then what good is his power and the soul he sacrificed for the pact to get it? And if he can't be needed then he throws himself into the fray without hesitation because his purpose has always been to sacrifice himself so others may live. His life has always been one of sacrifice. His life has been recompense since the second he was born and his mother passed as a result. He saves lives to make up for it. It will never be enough to him. It will always be everything to those he saves. He just wants to be seen for who he truly is. He thinks if no one can see him for who he is then maybe it isn't who he is, and maybe he's fooled them all, fooled himself into thinking he can be a better person, be the hero they need. He wants to be known by someone. He's terrified of someone looking deeper. He sees others for who they are. He's a monster hunter who does not hunt the typical definition of "monster", who knows that monsters are not the ones with fangs and horns in his group of friends but the men who look harmless yet cause endless death and suffering to others. Not even the threat of his life was enough to get him to harm an innocent.

He wants to be chosen. He cannot fathom that someone would choose him. He chooses others over himself every time. He has so much love for others. He thinks he must constantly earn love. He is shocked when someone simply loves him. He thinks he cannot love and lead at the same time. His only role model was a father who could never put his son before his city. He is capable of immense anger. He is capable of immense kindness. He purposefully chooses the latter; he works hard to not let his anger consume him. He's still angry over things that happened a near decade ago. He thinks feeling hurt is the same as being angry and so he can't be hurt. He's always hurting. He takes pride in his achievements and he does not underestimate himself. He's not religious. He devotes himself to his cause with the dedication of the most pious believer. He stands by his friends in any battle, against any struggle. He stands against them if they choose to threaten lives. He holds on to those he cares about with bloody knuckles and teeth bared because loss has always been the hardest pain for him to bear. He has lost everything. He gives every part of himself to others. He cannot lose anyone else. He thinks he can do anything because he refuses to believe any alternative. Because he could not survive any alternative. He thinks his intent is as important as his actions, and so he must always intend to do the right thing.

He does not tolerate his boundaries being pushed or his father being disrespected. He tolerates any judgment because he thinks he deserves it. He defends his status as the Blade of Frontiers. He thinks the fear caused by his devil form is a fault of his own that he must work to fix. He hates the patriars and their farce diplomacy, their lethal hypocrisy. He thinks his father is infallible. He does not hold himself to the same regard as he holds everyone else. He thinks its okay if it only hurts him. Anything is okay as long as it only hurts him. He has to keep fighting to prove he can be a hero. He is so, so tired. He cannot for one second admit to wanting for anything, because once he starts he might not be able to stop wanting. He cannot accept that he deserves to not suffer, too, because if he does he might not be strong enough to continue suffering so others might suffer less. He might not want to suffer. He thinks he cannot regret any decision he's made, he cannot regret his pact, because it would be a dishonour to the good he's done with it. He thinks that saying he regrets his pact would be saying he regrets every life he's saved with it and he would never regret saving lives so he cannot regret his pact. He's accepted that his freedom will always be the cost of saving lives. He desperately wants to be free. His life has never been his own, to him. He thinks every choice he's ever made was his own, alone.

He is very complex. He simplifies himself to be easily accepted by others. People fall for it easily. He just needs one person to look closer. He's afraid of what they'll find if they do. He doesn't keep his cards close to his chest, he meticulously chooses which cards to hold at all. Which parts of himself are worth losing if need be. How much of himself he has to keep close in order to keep being himself. He has seen the worst that the world has to offer. He chooses every day to be kind, to see the best in things, in others. He chooses to care. He holds onto his pain because it's proof that he cares. There are several pathways that don't connect quite right in his brain which you'll notice after a few conversations with him. He is wise beyond his years. He is my favourite guy ever

[stealingyourbones]

Why does DC hate Jason Todd so much??? He's literally Babey!!! 🥺

You probably aren’t me expecting to respond to this factually but fuck it here we go. Because he was a little rat fuck who replaced their favorite Robin character for a shitty carbon copy.

I wasn’t in the comic scene, or alive, when that happened in comics, but Jason originally was a carbon copy of Dick. He grew up in a circus, was in an acrobatic troupe called the Flying Todd’s, and his parents died by the hands of Two-Face.

The next Crisis had his backstory changed but the fans still viewed him as the bad Walmart version of Robin.

(For the readers:)He was a shitty replacement for Dick Grayson that had been Robin for so long and readers didn’t like the new guy taking over the role.

He doesn’t have a memorable Robin stand-alone series, he was uncharacteristically ruthless for a robin, he replaced Dick and didn’t have any of the Grayson charm that made Robin so loveable, he was arrogant at times and bashed in general. People wanted Dick. Not this other guy.

Nowadays why they hate him?

Simple and yet layered reason:

He went from a very wonderful villain in the comics and got later boiled down to an anti hero. Most people I know that dislike Jason now preferred his villain arc. I prefer it too honestly but if we didn’t have anti hero Jason, we wouldn’t have the interactions he has with the batfamily at all and I really enjoy those scenes in the comics.

His characterization is all over too. He goes from absolutely batshit insane in some comics to angsty ninja boy, to essentially a little bit feistier Ric Grayson (I’m so sorry it’s my take DC fans please don’t fight me).

Also, his death was a BIG thing in comics and him coming back ruined the meaning behind his death.

Back in the day there were three deaths in comics that always happened and never changed. They were deaths that grew other characters around them. Those three were:

- Bucky Barnes from Captain America

- Jason Todd from Batman

- Uncle Ben from Spider-Man

Their deaths hold major stepping stones to character arc changes and how the main character acted for the rest of the comics. They were always the main characters greatest tragedy and a core part of their lore.

Of course two of these are now changed. Bucky Barnes is back as the Winter Soldier and Jason is back as Red Hood.

But that death was sacred for a while. For 20 years he was dead. He was Batman’s greatest tragedy. You did not fuck with Batman’s greatest sorrow. And they did it after (incel) Superman Prime punched the universe so hard Jason Todd came back to life.

Additionally, lots of comic writers just don’t fucking want to deal with him. Same with Damian I feel like. They throw both under the bus because they’d rather be writing other characters.

Most of this is my observations but if anyone else has any other comments to add feel free.

[casscainmainly]

Bruce Wayne & Cassandra Cain in Batgirl (2000)

My last post covered the top 10 moments overall, but I had to skip a lot of my favourite moments involving specifically Batman and Batgirl. So here's a non-comprehensive, chronological list of great Bruce & Cass moments!!

Who Does She Remind You Of?

One of the most interesting things about their relationship is that initially, Cass doesn't have a name and doesn't know Bruce's name; they are purely Batgirl and Batman. This lack of alter ego allows Bruce to identify very heavily with Cass, and sets up the foundation for why Bruce acts the way he does later. He views Cass as a mirror of himself, which has both positive and negative repercussions.

You Can't Understand A Word I'm Saying

EXTREMELY underrated Bruce and Cass moment from Issue #2. Though I believe they fundamentally understand each other, there's still a disconnect between them (a disconnect Cass shares with everyone). But this disconnect goes both ways - Bruce is the one having trouble communicating here, saying 'I don't know how to say this' and pausing frequently (this speech pattern is very reminiscent of Cass' inner monologue towards the end of this run!). A great example of how neither of them are fully able to express the depth of their feelings towards each other.

Denial

A pivotal moment in Bruce's conception of Cass. When confronted with evidence that she killed a man, Bruce goes into complete denial. She's 'gentle', fully understanding his rejection of murder; how can she be a murderer? It's indicative of just how much he's projecting onto Cass, but also how much he genuinely cares about her. The second panel is underrated too - like David Cain, Bruce sees Cass as 'perfect', a word that will haunt Cass for arcs to come. This is where we start to see how Bruce's belief in Cass' perfection and morals negatively impacts her self-conception (as a perfect tool/weapon).

Good Answer

An incredible moment that's classic for a reason. Perfectly encapsulates both Cass' instinctive desire to protect, and Bruce's recognition of how similar Cass is to him. Also how his belief in her, however unintentionally, feeds into her death wish.

Jason Todd

Another underrated moment!!! This is the first major instance of conflict between death-wish Cass and no-more-dead-kids Bruce, and it's delicious. Bruce willingly opens up to her about Jason's death, and moreover, by comparing Cass to Jason, positions her as his child as well. It's sweet and sad and explains some of Bruce's more overprotective moments.

Denial 2

Not really denial but thematically it fits. When Bruce is framed for murder, the Batfam try to figure out what really happened. Cass sees that Dick has doubts, and helps him re-enact the murder so that he can believe in Bruce again. Not only is it a super sweet Dick-Cass moment, but it also shows how Cass believes in Bruce just as much as Bruce believes in Cass.

Good

A short and sweet moment that showcases how similar these two are. Bruce isn't exactly being a good dad here, but Cass genuinely DIDN'T enjoy that vacation. They just get each other. This is one of many, many times that Cass answers one of Bruce's questions perfectly (and makes Bruce smile).

Overprotective Dad Mode

In the second part of Batgirl (2000), Cass begins to explore her sexuality. This leads to issues of varying quality, BUT we do get tons of overprotective Bruce. A nice showcase of Bruce doing typical dad stuff, and Superman looking SO done. Also Cass in that first panel is hilarious.

Realisation

After lots of (rightful) heckling from Babs, Bruce finally realises that the way he's been using and treating Cass isn't right. Though this speech is couched in a lot of dismissive language ('disobedient', 'she was loyal'), I think that's just Bruce's inability to communicate. He cannot admit how much he cares for her. So he decides to fire her and tells her she jeopardises the MISSION (which, obviously, makes Cass feel terrible). Even when he's trying to put her first, his lack of communication skills only hurts her.

He Never Let Me Touch Him

The Bruce and Cass scene to END all Bruce and Cass scenes. Each panel is loaded with meaning. The first shows that despite Bruce's similarities to Cain, he still IS different; he is willing to be vulnerable around her, and allows her to do the same around him. The third panel is particularly interesting. Underneath all the ideological sniping between him and Babs, Bruce is jealous - he wants to be the centre of Cass' life and loyalty. Cass, however, doesn't fall into the trap. By pointing to the Bat, she both affirms her loyalty to his mission but also refuses any box he can put her in. She is his daughter, but she is not only his daughter, and never will be.

Honourable mention: the only reason I didn't put the Father's Day panel here was because I've already written about it. Also the scene where they mutually touch each other's faces and turn away of course!

[linkspooky]

Art credit: @/charscounterattack reposted with permission.

INVINCIBLE VS. MY HERO ACADEMIA: WHEN HEROES KILL

Whether or not heroes should kill people is a hotly debated topic in comics.

There are people who think heroes should never kill, and others who think heroes should kill more. One of the most famous comic book storylines "Under the Red Hood" has Red Hood / Jason Todd debate whether or not it was ethical for Bruce to keep letting the joker live even after the Joker killed Jaso, especially after the Joker killed Jason. If killing the Joker earlier to prevent all future deaths would have been justified. There are like a hundred DC Aus that are like "What if Batman and Superman just started killing people?"

In order to explore this question I'm going to explore two situations in different comics, Invincible and My Hero Academia when the hero, a very idealistic young hero kills someone for the first time.

LET HORI COOK

Storytelling, especially for serialized storytelling which comes out week by week instead of all at once works on the premise of drawing people in by promising that certain future developments and plot points are going to happen. Stories are all about creating expectations, building them, and then paying them off.

Here's an example: The Dabi is a Todoroki theory has existed pretty much since the training camp arc. Horikoshi wasn't in your face about the hints about Toya, but there was just enough hints to make the theory seem more and more plausible. Toya having the same fire quirk as Shoto / Endeavor. Toya mentioning both of them by name. Shoto's two other siblings getting revealed but not Toya. Toya saying that Hawks should have paid attention to him most of all. All of these little pieces came together until Toya finally revealed his identity on live TV in front of both Shoto and Endeavor.

This worked because not only did it give the audience just enough clues that they felt smart for figuring it out, and get invested in the idea of Toya as a Todoroki, it also was well-paced so it didn't seem like Horikoshi forgot about it unlike the traitor plot which went hundreds of chapters without being mentioned. If Toya was revealed to be a Todoroki at the training camp arc with no buildup, it wouldn't be as effective bcause we didn't have years of waiting and theorizing. If Todoroki was revealed to be some guy named Steve after all the hints, it also wouldn't be an effective reveal because there were hints dropped for Toya Todoroki, but there were no Steve hints so it'd feel like the author lied to us.

Themes are like this too. I tend to explain story themes by oversimplifying it as "Question, and answer." The story asks a question, it provides us an answer, and we can come up with our own answer as well. However, there's a middle part I'm skipping out on which is deliberation. Before you can come up with an answer, you obviously need to deliberate it, either by presenting arguments for or against, hearing outside opinions or just thinking things through.

In other words, you need to "Let things cook."

If Toya calling Shoto by his full name at the Training Camp Arc is when we're first asked "Is Toya a Todoroki?" or when the theories first started, then the long middle period between Training Camp Arc and the First War Arc is the deliberation. This is when the story not only added more hints to the idea that Toya was a Todoroki, but also set up why that reveal mattered. Endeavor wanted to atone for his past sins, but one of his victims was no longer alive. Endeavor begins to move on anyway and think he's finally made himself a good hero, but now Toya appears to flip up the reverse Uno Card.

So let's follow this basic formula, for how ideas get developed in My Hero Academia and just any good story.

Question / Introduction

Deliberation

Answer / Conclusion

My Hero Academia and Invincible explore similar themes in regards to heroism, generational trauma and how to be better than the previous generation in both Mark and Deku. I'm going to streamline their arcs down to one basic question for the sake of time. For both the question is:

Can I be a better hero than my Dad?

Deku and Mark might be two characters who cannot possibly seem to be more different, but you can actually list off a lot of similarities between them right away. Deku and Mark are both people who in a world oversaturated with superheroes spent most of their childhoods with no superpowers at all. Also, they were genetically supposed to inherit a quirk / viltrumite powers, but Deku was born quirkless, and Mark was an extremely late bloomer. They are also people who while being powerless civilians for most of their lives worship heroes. Deku collects so much All Might Merch he even stole some from Nighteye after he died, Mark attends comic conventions even after he becomes a superhero.

They also grew up worshipping one hero in particular who was essentially earth's strongest hero, for Mark it was his dad Omni-Man, for Deku it was All Might. They also both get the opportunity to train directly under their favorite hero immediately after they get their powers. At first this makes it seem like they've been given everything they've ever wanted. All Mark has ever wanted was to be a hero like his dad and make his father proud. Not only did Deku just want one person to tell him he could be a hero too even without a quirk, but his very idea of heroism is built around seeing All Might always save people with a smile.

However, both of them suddenly hit complication just when it seems like they've been given everything they've ever wanted. They are both confronted with the fact that their heroes are not who they expected them to be. They are overly idealistic heroes who have been dreaming of being heroes since childhood only to be hit with a much greyer reality. To the point where there innocence becomes a flaw in and of itself. The way they've been coddled and protected all of their lives leaves them completely unaware and unable to spot the grey areas in the world, or the people around them.

For Deku the moral greys exist in the villains around them. In MHA Society, villains are basically just bad guys in suits for the heroes to punch on television. They're seen as a faceless enemy, and there's very little in way of rehabilitation for villains once they're captured. Deku lived in a very black and white world before this point, and he's suddenly presented with the idea that his villains could be morally grey.

Deku's image of All Might is a hero who saves everyone with a smile, so he could never imagine that there are people who All Might has failed to save. He's never stopped to consider where villains came from, or if any of them might have legitimate reasons for their grievances.

This becomes a pretty central theme in MHA. It's first brought up here when Shigaraki talks about All Might acting as if there's no one he can't save. Twice brings it up again in his first backstory chapter, that the heroes only save the virtuous ones.

This is further enforced in the same overhaul arc with members who are loyal to Overhaul because they are society's trash who would have been thrown out otherwise. There is a group of people fiercley loyal to Overhaul who is a terrible boss, because he is the only person who would accept them.

edits belong to @stillness-in-green from bring it all back a tone poem on returning to staus quo located here on ao3.

In the War Arc this long running theme basically reaches a climax with the Hawks and Twice confrontation, where Hawks decides to try to offer Jin a chance to restart because he's deemed him "good" but he won't extend the same helping hand to the league who Hawks has determined as "bad." He then asks Jin to betray his friends in order to be saved, something that Jin rightfully calls out.

That Hawks only wants to save Jin because he's one of the good ones, and he's written off the rest of the league and left them for dead. Hawks choosing to divide between good and bad victims ad only save the one he personally thought was worthy of redemption, makes it impossible for him to save Twice who would never under any circumstances give up on the rest of the league.

Twice's death is a tragedy, but it also presents us a clear example of the failures of the previous generation. Even a hero who sincerely sympathized with a villain and wanted to help them start over wasn't able to help them because of this attitude of selectively picking and choosing who to save. If the heroes only save the innocent the I guess the lives of the guilty are worth less.

This is the questio Toga poses to Ochako, if the heroes killed Twice then are you going to kill me in order to stop me. This is the central subject of Shigaraki's speech to the heroes. That heroes and villains will never uderstand each other, because the entire hero system perpetuates itself on ignoring the needs of societal outcasts and rejects in form of the "innocent people" and those outcasts who aren't having their needs met eventually turn into villains who get systematically put down by heroes. Heroes and villains are incapable of understanding each other and breaking the cycle, because the entire system isn't built on helping people, but merely maintaining the idea that heroes are perfect, faultless saviors so normal people will feel secure, while the people the heroes have failed get swept under the rug so society can keep "functioning."

"You heroes hurt your own families just to help strangers. You heroes pretend to be society's guardians. For generations, you pretended not to see those you couldn't protect. That means your system's all rotten from the inside with maggots crawling out. It all builds up, little by little, over time. You've got the common trash, all too dependent on being protected, and the brave guardians who created the trash that needed coddling. It's a corrupt, vicious, cycle. Everythig I've witnessed, the whole system you've built has always rejected me. Now I'm ready to reject it. That's why I destroy. That's why I took power for myself. Simple enough, Yeah? I don't care if you don't understand. That's what makes us heroes and villains."

So if the starting question is: Can I be a better hero than my dad?

Then everything I've detailed above is deliberation. Here we have, ever since the training camp arc, this slowly built up idea of why All Might was a flawed hero in the end.

Mark has to face the fact that his father is a more morally grey person than he could ever imagine, whereas Deku has to face the fact that the villains are more morally grey in his world, and that makes the heroes look more flawed in comparison as well. The deliberation is all slowly bringing Deku to think over what Shigaraki asked him all the way in the beginning in there first meeting.

Were there ever people that the heroes couldn't save? If so then what are you supposed to do with the victims you can't save after they grow up? This is when Deku begins to start forming his own answer.

Deku hears the advice of both the other OFA users, and The Stinky Old Man (Gran Torino) that killing Shigaraki is the best option, but wants to explore other options.

Scenes like this clearly telegraph what the answer / conclusion Hori is leading us to to be. The same way that Toya is a Todoroki is foreshadowed long in advance, statements like "All for one is a power meant for saving, not killing" clearly set up Deku's Endgame. Deku's end goal is to find a way use his power to save Shigaraki rather than killing him. Everything else is just a matter of deliberation, Deku knows what his edgoal is but the chapters between then and the end of the manga is Deku having to figure out how exactly to save Shigaraki without killing him.

You Heroes Hurt Your Own Families Just to Help Strangers

Invincible is the story of Mark Grayson, the son of Omni Man / Nolan Grayson. He's been told all of his life that his father is a viltrumite, a race of benevolent aliens who send out people like Nolan to alien civilizations in order to uplift their entire civilization. Which is what led Nolan to come to earth and become Earth's greatest heroes.

This turns out to be a big fat lie when within 12 chapters Nolan not only slaughters the guardian's of the globe, but also has a confrontation with his son.

Mark has wanted to be just like his dad his entire life. Only to be slapped in the face with the realization he's known nothing about his dad his entire life, shown rather brilliantly by these panels where Nolan tries to have a normal father / son conversation with Mark while covered in blood.

Nolan isn't from a futuristic utopia but from a brutal, fascist space empire. He didn't come to earth to help bring it up, but to weaken its defenses and make it prime for conquering. He didn't have Mark out of love, but to produce another soldier for the viltrumite empire.

Mark's entire schtick is that he's invincible, but he's so inexperienced as a hero that he gets beat up constantly despite the fact he has the strongest power set in the series b/c he has viltrumite powers. However, not only does the series introduce moral greys by continually showing how Mark even with the best power set in the series constantly gets his ass kicked, it also challenges Mark's black and white thinking and hero worship of his father by showing him the kind of man his father really is.

Mark has wanted to be exactly like his father his entire life, but now that's suddenly a bad thing. His father is a morally reprehensible person and Mark is now a descendant of an alien race meant to conquer worlds. Not only is Mark confronted by who his father really is, but now everyone in Mark's life judges him by comparing him with his father.

Mark has to work with Cecil and be his on-call Superhero, both to be able to pay for college, and also to prove that he's not his dad. The unspoken part of the agreement is that Cecil gets to keep a leash on Mark and Mark has to prove that he'll never turn out like his father to earn Cecil's trust.

Cecil is automatically suspicious of him because if Mark were to turn evil, the planet would have no defenses against him just like it didn't have any for Omni Man. Mark's mother starts to drink and blames Mark for Omni-Man leaving in a drunken moment of weakness because of how much the information that Omni Man only regarded her as a pet affected her.

The comic even shows us that in most alternate universes, mark actually did make the decision to join his father's conquest, and this universe is one of the few exceptions. This is also where we're introduced to a major reoccuring antagonist in the comics, and also the main antagonist / final antagonist of season 2 of the cartoon Angstrom Levy.

Levy is someone who can jump between dimensions and has traveled to almost all of them collecting his alternate selves. He has witnessed for a fact that in most universes Mark sides with his father instead of fighting against him.

Levy enlists the clone bros to build a device that would combine the knowledge of his alternate selves into one individual. This device ends up breaking tragically (partially mark's fault, but levy himself made the decision to stop the machine in order to stop the clone bros from killing Mark). Levy's memories become confused as a result of the machine malfunctioning, and he can't tell the difference between himself and his alternate universe counterparts. This means that Levy now remembers several alternate universes where Mark did turn evil, and remembers them as if they happened to him.

It's better elaborated upon in this post:

The process by which Invincible has had to condense and consolidate the plot beats of the original comic, coupled with the opportunity it's granted the writers to tighten up and emphasize its themes on a second pass, has resulted in a newfound appreciation for how unbelievably fucking good Angstrom Levy's whole character concept is. What's that, Mark? Your main emotional crisis this season is your fear of turning out like your father? Here, have an archnemesis who's out to kill you because his memories were inadvertently overwritten with the lived experiences of hundreds of alternate versions of himself whose friends and families were slaughtered in worlds where you did, in fact, turn out exactly like your father. Because it turns out that that is in fact the multiversal norm. That you turn out like your father. And now you're left to wonder what set of arbitrary coinflips pulled you back from that abyss in this dimension, and whether your luck is going to continue to hold into the future.

Mark is not only hit with the revelation that his father isn't as good as he thought he was, but also while he's in a crisis about about whether or not he will turn out like his father, he learns the answer is yes, in several dimensions he turns out exactly like his father.

In My Hero Academia there are families like the Todoroki's who balance the difference between a hero's obligations to society, and a hero's obligation to society. However, that's a side plot where I'd argue that the main plot for Invincible and it's main focus is what Mark owes to the world as a hero, and what Mark owes to his family.

It's not just that Omniman is trying to invade earth for the Viltrumite empire. It's not just that he failed as a hero, but that he failed as a father. What makes Mark snap, is hearing Omniman call Debbie a pet. Until that point Mark was in denial and still trying to reason with his father.

Invincible is about two intersecting themes: Is Mark obligated to use his incredible powers to help make the world better? Can Mark be a good hero and a good family man?

While MHA has more far reaching societal implications in its themes and questions, Invincible is more specifically about the Grayson Family. It's generational trauma on a society level, vs generational trauma on an individual level. The way Nolan was raised on Viltrumite effects how he raised Mark causing their conflict, and Mark's conflict with his father effects most of his young adulthood when he's trying to figure out what person he wants to be (read: not his dad), but also the way he parents his daughter with Atom Eve.

Omni-man failed Mark as both a hero, and a father. Mark feels the need to overcompensate for what his father did the world and all those innocent people by acting as Cecil's lapdog and doing whatever Cecil tells him.

However, Mark is much more hurt by the personal betrayal than he lets on. It's not just that his father killed a bunch of innocent people, it's also that Mark's father failed as a father, abandoning both him and mom and choosing to be a viltrumite rather than being Mark's father. Mark's stated reason for wanting to be a hero post the omni-man reveal is to prove he's not like his dad to the world, and also make up for the innocent lives he failed to save. However, his unstated underlying reason is Mark is hurt and betrayed his father didn't put his family first, and this causes Mark to always put his family first.

This leads to two insecurities / narrative flaws. One, Mark is insecure about becoming like his father so he tries to prove he's nothing like him by being the most selfless, perfect hero possible. Two, Mark is hurt by being abandoned by his father and doesn't want to become a deadbeat like Nolan so he gets extremely overprotective of his own family.

These two things are obvious in conflict with one another: A hero has an obligation to the common good which sometimes means sacrificing time with your loved ones. However, being a good family man requires a level of selfishness that directly contradicts the selfless hero that Mark is pushing himself to be. In the comic the way Mark prioritizes his family and loved ones over the common good and justice is made even more obvious. His first instinct on seeing Omni-Man again isn't to call him out for being an awful father, but to hug him and ask him to come home. Mark is a distraught son first, and a hero second.

Mark has two flaws, his fear of being like his father makes him try too hard to be a perfect hero, and his trauma over losing his father makes him prioritize his family over being a hero. It's very much a having your cake and eating it too situation, oftentimes heroes make huge sacrifices for their personal lives in order to be heroes, that's basically a theme discussed in the comic with Nolan being absent for a lot of Mark's childhood, and why Mark's relationship with Amber fails.

The show also introduces us to the idea that Mark is so afraid of becoming like his father that he deliberately holds back his punches. Which is good when he's fighting earth villains, but bad when he's facing viltrumites who can only survive being disemboweled, but will also come to wipe out all life on earth if they're allowed to live. In the show it's directly mentioned that Mark is holding back, in the comic it's implied when we see how helpless Mark is in the fight against other viltrumites. Mark lacks the resolve to kill someone and when fighting a viltrumite, failing to put them down can have consequences because they are galactic conquerors who will not show you any mercy.

This all comes to a head in the Angstrom Levy fight where Mark makes his first kill on-screen when beforehand he'd never fought to kill before, and even held back against galaxy conquering aliens who were out to murder him and his dad.

However. before we begin that.

Should superheroes kill?

People often act like whether or not super heroes should kill their villains is a black and white topic, where it actually depends highly on context.

Batman’s an entire character is written around how he wants to redeem Gotham and save the city, most of his villains aren’t even sent to prison they’re sent to Arkham a facility that’s supposed to rehabilitee the mentally ill so they can rejoin society. Batman has decided it’s his place to stop crime, not his place to decide whether or not people have the right to live or redeem themselves.

Batman is also at risk for being just like his villains, that’s why he’s foils with Harvey Dent, someone who tried to prosecute people under the law who then snapped and went full violent mobster vigilante. Batman actually is at risk for walking the same path as Harvey if he decides murder is an option.

In X-Men 97, there was a character known as Rogue who dropped Simon Bolivar Trask off of a building in an act of vigilante justice. This action makes sense in context for several reasons. One Rogue was raised by Mystique and Destiny, is a former member of the Brotherhood of Evil Mutants, and began as a terrorist in the comics. She's not really a "moral highground" character like Batman. Two, Boliver Trask built a giant killer robot that resulted in the deaths of millions in Genosha which Rogue is a survivor of. Number three, Trask had no sympathetic reasons for building the genocide robot, he built the sentinels out of bigotry to wipe out mutants. He's not a victim in any way, he's an oppressor facing consequences for his actions.

Batman shooting Harvey Dent, his former best friend, a victim of severe mental illness and trauma that still has hope for recovery, and Rogue dropping the guy who made a genocide robot off of a building are both wildly different situations.

So in the context of MHA we have Shigaraki Tomura, a terrorist who's goal is to destroy japan enough that it will dismantle the hero system for good. Shigaraki Tomura is a ten year old child who lost control of his quirk and killed his family for mistake, he wandered for days in crowded city streets but not a single hero stopped to help him, then he was found by the main villain of the story and groomed for ten years into becoming his successor. Shigaraki is also surrounded by a group of societal outcasts who were failed by society in similiar ways, so Shigaraki knows he wasn't the only one failed by hero society and he starts to wage his war for their sake as much as his own.

In Invincible we have Angstrom Levy. Angstrom is not plotting mass murder the way that Shigaraki is. He is specifically only targetting Mark Grayson's family for revenge (at least the first time he showed up, the second time during the invincible war arc was different). Angstrom's revenge against Mark Grayson is misplaced, but to be fair the accident messed with his brain hardcore and he doesn't remember clearly what happened. He doesn't remember that he's the one who decided to stop the machine in order to help Mark. It's tragic. Angstrom also has the memories of like hundreds of different universes of evil Marks. Even though he's the victim of a tragic accident, he's also a victimizer in that he doesn't choose to just go after Mark, he deliberately picks Mark's family, his mother, and his infant little brother as a way of hurting Mark.

So both of these characters blur the line between villain and victim, but neither of them are like Trask in that they have no sympathetic motivation whatsoever. Shigaraki's actions don't come from bigotry, and he's not an oppressor. Trask was actually trying to do something good before his machine broke and his brains got scrambled, and now he wants personal revenge and to blame all his problems on Mark which is petty yes, but not on Trask's level of heartlessness.

So, there's a case that can be made here for both of them that there's room to save them. After all Mark and Deku aren't killers to begin with. Mark especially has an incredibly vested interest in not becoming a killer. Even if they don't explicitly go out of their way to save and redeem these two people, we're still at this point expecting the heroes to at least take down these two sympathetic figures non-lethally. Mark doesn't want to be like his dad and Deku has said explicitly he wants to save Shigaraki, and that OFA is a power for saving and not killing.

Also to sidestep this argument before people comment on my post with it.

What do you expect the heroes to just let a mass murderer live?

YES!

It happens in comics literally all the time.

Magneto, Wolverine, Jean Grey / Phoenix, Emma Scott, heck, OMNIMAN himself, all characters who have killed lots of people and all characters who get to live and even be on the heroes side. Of these three Jean Grey of all people has the highest body count.

Shonen Jump also has Vegeta. Have you ever heard of Vegeta? Most popular Shonen Rival of all time? Omni-man and Viltrumites are basically just Saiyans.

In real life they wouldn't let a mass murderer walk away but comics are not the same as real life. That's why characters are always punching dinosaurs all the time. Fun fact, if you were to try to punch a dinosaur in real life it would probably hurt your hand. I would advise against it. Dinosaurs are for the most part much stronger than human beings.

As I outlined above Shigaraki and Angstrom are different characters than Trask. They might all be murderers, but the first two have sympathetic elements and are humanized, they are victims of oppression (Angstrom's been killed by viltrumites in a whole bunch of worlds) whereas Trask is an oppressor.

So for both of these stories we are not expecting to see Deku and Mark kill their final villains (for the series and for this season). Deku because he's spent the final third of the series trying to work out a way to save the villains, and Mark because he doesn't want to turn out to be a violent murderer like his father so he's trying to be the most selfless, most perfect hero ever.

I THOUGHT YOU WERE STRONGER

So we finally reach the scenes in question and I thought I'd compare them without much commentary, just highlighting what happens without adding much spin.

So the final episode of Invincible Season 2 and Issue #33 of the comic is where Angstrom and Mark have it out. Angstrom appears in Mark's home and threatens his family. he brings up the comparison between Mark and his father right away. This is also something Angstrom has seen first hand by traveling to multiple universes where Mark has sided with his father.

In the cartoon he's a lot more confused because he's constantly remembering other universe's memories as if he were his own so he genuinely thinks he's taking down an evil viltrumite, in the comic he's being more petty and blaming Mark for his deformity (I think he doesn't remember that he was the one to take the helmet off by choice). In both versions he uses Mark's family as hostages to keep him from fighting back as he tries to send Markk to his death in several different realities.

Angstrom then ups the threat of violence from holding them hostage to threatening to kill them. In both the show and comic he brutally breaks Debbie's arm. Mark is sent through several more realities, only to discover that Debbie's arm is broken and lose his temper.

Mark and Angstrom's fist fight comes to an end, and while Mark has him on the ground he keeps hitting and hitting and hitting long after Angstrom stopped fighting back. Which is what prompts the famous "I thought you were stronger..."

Now, in this situation it looks pretty justifiable that Mark attacked Angstrom so aggressively,. it was self defense for one against a man trying to kill him and he only got truly aggressive after he saw his mother's arm get broken. Not only that he didn't intentionally kill Angstrom, you can argue he went too far in a case of clear self defense. Other people even tell Mark that this one isn't on him, including Cecil who compares Mark to his father the most.

Then, why is Mark so disturbed?

It's because this....

Is a deliberate parallel to this...

It's not just that Mark killed a man, it's that he killed a man by pounding on him relentlessly long after he'd stopped fighting back the exact same way his father did to him during their fight.

There's a difference between Mark say, fighting against a viltrumite and making a deliberate decision to kill them because of the danger that viltrumites represent to other people considering they are planet conquerors, and Mark killing this man because he lost his temper and couldn't control his own strength.

Mark spends the entire season trying to not be like his father, only to see first hand that he's capable of the exact same violence that his father is. The last episode of Season 2 summarizes this moment pretty perfectly in a montage of season 1 moments while Mark screams and breaks the sound barrier trying to push his viltrumite powers to their limits.

Mark: I'm strong enough and I can do this. It's all I've ever wanted for as long as I can remember. I want to do what you do. I want to be just like you. Omni-Man: You will be, son. You will. Mark screaming. Omni-Man: You'll outlast every single fragile being on this planet. You'll live to see this world crumble to dust and blow away. Everyone and everything you know will be gone. Mark screaming. Cecil: You know who else said that to me? Mark: I'm not my dad. Mark screaming some more. KRegg: Your father will be execute and you can return to earth. You will assume the mission to prepare earth for our rule.

So not only is Mark hit with the realization that he's just as capable of being violent and angry as his father is. He also is being forced by the situation to become more violent out of pragmatism, because if he doesn't get strong enough to fight viltrumites then they're going to come to his planet and take everything.

Not only has Mark lost some of his innocence, he's also being forced to throw the rest of it away. It's why Mark drops out of college at the end of the season because any pretense of balancing between his human life and his duty as a hero is gone. He is basically forced to be a viltrumite full time now and will abandon any semblance of trying to live his own life for a very, very long time until his relationship with Eve starts to get serious.

Which is why a pretty justifiable murder in this context is presented as so bloody, gruesome and traumatizing an event for both the audience and Mark himself. We both know there's no coming back from this.

As for the death of main series villain Shigaraki Tomura, Deku ends up being forced to kill Shigaraki in a situation similiar to Mark. Though I will highlight one difference right away. Mark was trying to reason with Angstrom, but he was at no point like "I want to save Angstrom, he's a victim I want to find some other way of ending this bloody conflict between us." Mark just didn't intend to go so far as killing him.

Deku entered the fight with the explicit stated desire to save Shigaraki rather than killing him, which would make him different from the previous generation of heroes because he wouldn't turn a blind eye to society's faults and victims like Shigaraki accused him of.

Deku makes a journey into Shigaraki's mental landscape to find Tenko in a recreation of the memory of the day of his worst trauma. As Tenko's quirk activates, Deku attempts to grab the little boy's hands to comfort him.

Deku's "Why I am here" is markedly different from All Might's. Deku says the reason he wants to save others is to take their hands, comfort them and give them peace, whereas All Might as the strongest hero tried to keep peace by beating all the villains down. Deku's way to become the greatest hero once again, focuses heavily on saving others, and offering his hand to everyone without hesitation instead of picking and choosing who to save like previous generations.

Deku even says that he has to extend a helping hand to everyone because he's learning that the world is more complicated than he thought, he was ignorant to a lot of people's suffering, and he can't sweep their pain under the rug anymore.

For a moment Deku unconditionally extending a hand to Shimura Tenko even as his mental body begins to decay away wins over Shimura Tenko. Though Shigaraki also resists because much like Twice he doesn't want to abandon the rest of his friends even if it means he personally will be saved.

However, any attempts to save Shigaraki are interrupted by AFO suddenly appearing out of nowhere and taking control of Shigaraki's body yet again.

At this point Deku does exactly what Mark does, which is relentlessly punch Shigaraki's body to death in order to kill AFO along with Shigaraki. In some small defese Shigaraki was also there too punching AFO in his mental landscape so he was assisting Deku in defeating AFO he wasn't helpless the entire time.

But, basically we see the same scene happen with Mark.

A hero who does not wish to kill is forced by circumstance to kill a villain. In Deku's case it should be even more devastating because they explicitly went into the fight wanting to save Shigaraki and they believed their power was for saving and not killing.

Yet, we don't get nearly as horrified a response from Deku.

However, instead Deku's final words are just about how he couldn't forgive Shigaraki and had to put a stop to him no matter what.

Even the way the scenes are presented to us are entirely different. Mark punches Angstrom in a wasteland a dry, dead place, until he's soaked in Angstrom's blood, and painted everything around him red. Once again, it's a visual callback to Mark's father beating him half to death, which was Mark's own lowest point.

Whereas, when Deku punches Shigaraki until he disintegrates not only is the violence or horror of Shigaraki's death not acknowledged, but it's played as a triumphant moment where the clouds clear from the sky and the stun starts shining.

In the cartoon Mark killing Angstrom leads to a total screaming breakdown where he has traumatic flashbacks of his dad beating him and pushes himself to break the sound barrier multiple times. It also leads him to making big life changes like dropping out of college to become a hero full time and giving up any pretense of having a normal life. As seen in a scene where he watches Amber from the sky, and is tempted to go down and greet her and just flies off, because Amber represents his connection to his humanity.

Also, Angstrom doesn't even die. He comes back way worse and that's how invinicble war arc starts.

In the aftermath of killing Shigaraki, Deku gets melancholy about not being able to save Shigaraki only to be reassured he did save him in the end. Only to be told by All Might that it's okay because he still saved Shigaraki's heart even if he killed him.

DEKU: "I couldn't save Tenko's life." "I reached out to his heart, and even though his hatred was crushed," "to the very end, Tenko" "was the leader of the League of Villains." ALL MIGHT: "Let me tell you this as someone who has had a near-death experience," "I think it's in the expression on his face at the end." "If there wasn't a crying boy there," "I think his heart was saved after all,"

People also try to convince mark that he did nothing wrong and that there was no helping what he did in a situation like that, but he doesn't let himself believe them.

The ending lines about the last episode of Season 2, are this:

Eve: I'm sorry Mark. It's not fair. You don't deserve this. Eve: You don't deserve this.

Which has a double meaning. Eve is just trying to comfort Mark, because arguably he shouldn't have to feel guilty for fighting in self defense. On the other hand what Mark hears is You don't deserve this in the context of Eve's feelings for him. An alternate timeline version of Eve confessed her love for Mark. Mark was about to bring it up but decided not to. At that moment as Eve embraces and comforts him, what Mark hears because of his own self loathing is that he doesn't deserve Eve comforting him, or her love for him.

Just to clarify I don't think that Mark is crying over Angstrom Levy specifically. In fact over time he's painted to be pathetic in his obsession with revenge, and what he amounts to is just wanting to blame everything on invincible when it was partially caused by his own actions.

However, it's inarguable that killing (or rather seemingly killing Angstrom) deeply impacted Mark and how he saw himself as a hero. It's less about Angstrom, and more about the loss of control, and the realization of how powerful his anger and hatred can get and what that means for him personally.

It also shows us where Mark's priorities lie. Mark wants to be a perfect hero and a perfect family man, and Invincible shows us he can't be both, his desire to protect his family leads him to staining his blood when he was trying so hard to be a good, selfless hero. This is all a part of a deliberate arc where Mark chooses more and more to value his family over being a hero. I'm not going to say whether or not it's the right choice, but it's a choice he makes, as a part of his character development where as he grows up and becomes a father his priorities change.

My point is that this moment has an impactful change on Mark, for arguably the rest of the comic.

Now my question is, with My Hero Academia will the death of Shigaraki Tomura, the series greatest villain and it's greatest victim have an equal impact on Deku's character that Levy's death did on Mark's?

[batbabydamian]

Hey, I started reading Robin son of Batman because of your recommendation (I literally have a print of your post on my phone to not forget lol). Honestly? One of the best things I ever read!!!

Thank you for opening my eyes! Damian has been one of my favorite characters for over a year, but I didn't read/watch much of him because of school, life (and probably an executive dysfunction in the mix).

Maya is incredible. I loved her.

I haven't finished all the issues yet, but do you have any other recommendations?

WAH this makes me so happy, i'm glad you still gave it a shot even with how busy life is!! ;v;

i’d love to give reccs, and i’ll try to go a beginner friendly route! tbh you can pick up whatever here, but since you've read R:SOB i’d immediately follow up with Batman and Robin (2011) #1-8! this first arc is what’s referred to in Maya’s introduction, and it's just. so good.

Main Books

Batman and Robin (2009)

Dick as Batman with Damian as his Robin!

#20-22 Tree of Blood: Dark Knight vs White Knight arc is done by Tomasi and Gleason, the team for the next Batman and Robin series

*Batman and Robin (2011)

Bruce and Damian figuring out their relationship as both Batman & Robin and father & son

imo you can enjoy the ride and read straight through this but i’ll add context to avoid as much confusion as possible since there’s the occasional tie-in or offscreen events, like Damian’s death nbd

Batman Incorporated (2012) #1-10

events leading to Damian's death - affects Batman and Robin (2011) from issue #18

kind of a tough read especially with how Talia's written, but a lot of iconic bits like Batcow, Damian's vegetarian declaration, Alfred the cat, "We Were the Best, Richard."

Robin (2021)

another self-discovery adventure, particularly after Alfred’s death and a fallout with Bruce (and questionable writing choices from his last Teen Titans run)

Batman and Robin (2023)

currently ongoing! after a number of events, Bruce and Damian are back as a duo

Damian Dynamics!

Batman: Streets of Gotham (2009) #7, 10-12

arc where Damian meets one of his first Gotham friends, Colin Wilkes

Batgirl (2009) #5-7, #17

Steph and Damian dynamic! "the bad cop, worse cop" dysfunctional duo

Red Robin (2009) #13-14

early Tim and Damian dynamic that of course includes fighting haha. funny enough, accidentally my first intro to Damian LOL

Teen Titans (2003) #89-92

Dick!Batman has Damian join the Teen Titans. Start of Damian and Rose Wilson dynamic that’s extended in Robin (2021)

Batman: Gates of Gotham (2011)

Damian meets Cass and has a brief team up

Gotham Academy (2015) #7

Damian meets Maps Mizoguchi! they have a few other meetings, but outside of that the series itself is a great read!

Robin War Event (2015)

Robin War (2015) #1, Grayson (2014) #15, Detective Comics (2011) #47, We Are Robin (2015) #7, Robin: Son of Batman (2015) #7, Robin War (2015) #2

Duke and Damian dynamic! not exactly beginner friendly but these are the main issues in order for the event! you can also read the TPB version for everything including Tie-Ins

Nightwing (2016) #16-20, #42, #43

#16-20 Nightwing and Robin arc!

#42 Dick on a mission to save Damian! the one appearance of "Wiggles" the dragon

#43 Dick, Roy, and Damian team-up

New Talent Showcase 2018 "Catwoman: Pedigree"

Selina, Damian, and Alfred the cat

Batman: Prelude to the Wedding - Robin vs. Ra's Al Ghul (2018)

Selina, Damian, and Cheese Viking - Damian's fav game shown in Nightwing: Rebirth (2016)

Monkey Prince (2022) #1-4

Marcus Sun Shugel-Shen's main comic, but Damian features as a fun dynamic here before they're in more serious circumstances in Batman VS Robin (2022)/Lazarus Planet event

Superman (2016) #10 - 11

the beginning of the Super Sons! featuring Maya!

Super Sons (2017)

solitary arcs but there’s a few event tie-in issues later

Adventures of the Super Sons (2018)

literally more Super Sons adventures lol galactic shenanigans yeehaw

Challenge of the Super Sons (2020) 

Super Sons time shenanigans feat. the Justice League

Robin 80th Anniversary (2020)

"Boy Wonders" - brief Damian feature as Tim considers his next step in life

"My Best Friend" - Jon's thoughts on Damian and their dynamic

"Bat and Mouse" - refers to Damian's unfortunate Teen Titans (2016) run at the time of release which follows up with Teen Titans Annual #2 where Damian briefly gives up Robin

Extra Comics!

Superman/Batman (2003) #77

Kara and Damian in a Halloween team-up! also the appearance of "Li'l Matches" lol

DCU Halloween Special '09 "Cavity Search"

Damian out on a solo mission for Halloween night. Immediately after is Tim's Red Robin story "Then and Now: Our Father's Sins" which is more somber in contrast but also a good read!

DCU Halloween Special 2010 "Robin the Vampire Slayer"

a Dick!Batman and Robin story featuring the vampire Andrew Bennett

Cursed Comics Cavalcade (2018) "The Devil You Know"

Halloween themed comic with a sweet short story of Damian alongside Solomon Grundy

DC's Terrors Through Time (2022)

"Trick or Treat" a Super Sons Halloween story

"The Haunting of Wayne Manor" Damian and Deadman story - in the end, Boston kinda refers to Nezha's possession of Damian in Batman VS Robin (2022) which was happening at the time of this release

Batman: Li'l Gotham (2013)

lighthearted series that instantly makes me smile with the silliness and Dustin Nguyen’s art i love this dearly

Secret Origins (2014) #4 "A Boy's Life"

a retelling of Damian's origin story

Detective Comics (2016) #1001-1005

Batman and Robin vs the Arkham Knight (unrelated to the game)

Truth & Justice (2021) #6/#16 - 18 Digital First version

cute story of Damian’s birthday! Juni Ba’s art is so fun!!

DC Festival of Heroes: The Asian Superhero Celebration (2021) “Special Delivery”

short story about Damian! and poisoned pizzas. completely forgot the artist Sami Basri drew Rebirth Damian here before catboy Damian lol Cass’s story “Sounds” is also cute! Marcus makes his first appearance in "The Monkey Prince Hates Superheroes"

DC VS Vampires (2021)

Damian makes appearances throughout this elseworlds book, but the one-shot DC VS Vampires: Hunters (2022) is vampire Damian-centric!

Batman: Black and White (2021) #5

“Father & Son Outing” short story written and drawn by Jorge Jimenez!

Batman: Urban Legends (2021) #20-23

#20 “My Son” Talia and Bruce focus

#20 - 23 “The Murder Club” 4 Parts

Tiny Titans (2008) #33, #39, #45, #47

a few appearances but SO CUTE, LOOK AT HIM

*Batman and Robin (2011) reading guide

i'm mostly trying to avoid the "what did i just walk in on?" kinda feeling when i first started reading comics LOL i'll list the comics where events take place, but you don't necessarily have to read them to go through this book since things are usually explained as quickly as possible in the first page or so

#0 Someday Never Comes

Talia and baby Damian before he grows up to meet Bruce

#1-8 Born to Kill

just an incredibly solid arc for Bruce and Damian!

#9 Court of Owls Tie-In Issue

Damian VS a Court of Owls Talon. While Bruce is occupied with a home invasion of Talons, Alfred makes a call for allies to protect targeted Gotham public figures from Talons. During Batman (2011) #1-11

#10-12 Terminus

Damian challenges the previous Robins sans Steph

Batman Incorporated (2012) is occurring at this time where Talia has placed a bounty on Damian and there's small mentions of that

#13-14 Eclipsed/Devoured

mostly solitary arc! end of it leads into the Death of the Family event

#15-16 Death of the Family Tie-In Issues

Damian and Joker face-off... Alfred's been kidnapped by the Joker, and Damian goes looking for him. During Batman (2011) #13-17

#17 Life is but a Dream - Death of the Family Epilogue

a sort of subconscious check-in through the dreams of Damian, Alfred, and Bruce. Nightwing (2011) #17 features Damian encouraging Dick after Death of the Family events

#18 Undone "Requiem"

Bruce dealing with Damian's death from Batman Incorporated #8

other reactions to Damian's death: Dick in Nightwing (2011) #18, Tim in Teen Titans (2011) #18

#19-23 Denial, Rage, The Bargain, Despair, Acceptance

Bruce through the stages of grief with some batfam appearances in each. also introduces Carrie Kelley into continuity as Damian's acting tutor.

Batman (2011) #19-20 also addresses Bruce's loss

#23.1-23.4

these could be skipped - villain stories, also related to Forever Evil event.

#24-28 The Big Burn

optional Batman and Two-Face/Harvey Dent arc, #23.1 is part of this story!

Damian's resurrection and return

#29-32 The Hunt for Robin

Ras took Talia and Damian's bodies from their graves, and Bruce goes after him.

-> Robin Rises: Omega

continues events from #32. if you don't want to jump to this, basically, Glorious Godfrey and a bunch of parademons from Apokolips are here for a chaos shard which Ra's put in Damian's sarcophagus. at some point, Bruce gets a hold of the shard where he sees a vision that leads him to believe Damian can be resurrected. Godfrey ends up taking the shard, along with Damian's body since it was emitting the same energy.

#33-37 Robin Rises

Bruce hellbent on retrieving Damian from Apokolips and reviving him

-> Robin Rises: Alpha

necessary to read and continues events from #37! Damian's back with a bang lol

#38-40 Superpower

Damian adjusting to having superpowers and being alive again

Annual #1 2013 Batman Impossible

sweet (and funny) one-shot of Damian sending Bruce on a meaningful scavenger hunt around the world while Damian gets to be the cutest Batman for a bit

Annual #2 2014 Batman and Robin: Week One

one-shot takes place during Damian's absence. after Bruce and Alfred find a mystery gift left for Dick, Dick recounts a story he had told Damian from his Robin days.

Annual #3 2015 Moonshot

one-shot Batman and Robin adventure on the moon!

...and of course after Batman and Robin (2011), Damian's story continues in his first solo Robin: Son of Batman (2015)!

[longwuzhere]

My Adventures with Superman Season 2 Easter Eggs

Welcome back everyone! Here we are season 2 of My Adventures with Superman! What a fantastic first two episodes and as usual they're full of fun Easter eggs which I will point out and explain to those who aren't familiar so you can be in the know with the comics book readers! My Easter eggs lists for season 1 is here if you haven't seen it!

My season 2 episode 2 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 3 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My season 2 episode 4 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 5 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 6 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 7 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references for My Adventures with Superman comic issue 2 post is here

My season 2 episode 8 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 9 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 10 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here

Spoilers if you haven't seen the episode

Starting things off MAwS's Season 2 episode 1 title is a reference to Shakesspeare's Hamlet where Hamlet is speaking to Horatio and says this line about how you gotta see it to believe it essentially. In my opinion in terms of the show I read it as we and the MAwS cast are gonna be seeing a lot of wilder things in space and on Earth.

After the title we see Jimmy flaunting his wealth around giving the Daily Planet employees Valentines day cards after selling his social media site Flamebird to the Planet. Clark gets one and talks about his planned date with Lois and Cat Grant interrupts him saying that date is such a bore. I explained Flamebird here and talked about Cat Grant here.

After, Perry White enters the scene complaining how Vicki Vale of the Gotham Gazette is always one step ahead of the Planet reporting on huge news. I talked about Vicki Vale here.

Lois, after waking up from a nap, mentions to Perry about a weird meteorite that landed in the Antarctic. She names drops her STAR Labs friend Hank. Later when the gang meet we learn that he's married. From those clues we can conclude this is Hank Henshaw.

Hank Henshaw in the comics makes his first appearance as an astronaut in Adventures of Superman #465 (1990) [W&P: Dan Jurgens, I: Art Thibert, C: Glenn Whitmore L: Albert DeGuzman]. He and his crew meet their unfortunate fates in the next issue as each crew member is hit with radiation in space causing their bodies to change. One member is turned to stone and gravel and bits from the wreckage of the ship when it crashed back to Earth, another's body turns to radiation, Terri, Hank's wife later learns that her body is phasing into a different dimension. She's saved but Hank 's body later decays rapidly. Doesn't all this sound Fantastically Four-miliar?

Hank Henshaw would later return in the Reign of the Supermen storyline as Cyborg Superman after Clark's death at the hands of Doomsday in Adventures of Superman #500 (1993) [W&P: Dan Jurgens, I: Doug Hazelwood, C: Glenn Whitmore, L: John Costanza]. How Hank returned and got this wild mechanical Superman body I wont say but I do recommend reading Adventures of Superman #466-468, the Death of Superman, A World Without Superman, and the Reign of the Supermen story arcs to find out. Will this also happen to Hank in MAwS? Who knows? Only time will tell

Lois name drops the DC universe's most famous laboratory and research center, S.T.A.R. Labs. You may have first heard about it from the CW DC shows. S.T.A.R Labs conducts a variety of experiments from space travel to technology and they usually are the superheroes' go-to when it comes to lab analysis. The research center makes it's first appearance in Superman #246 (1971) [W: Len Wein, P: Curt Swan, I: Murphy Anderson] where Superman scoops up some plankton and algae for them in the panel.

Jimmy in the scene before they meet Hank name drops Amazo Tech. I talked more about the company and the former CEO here.

As the MawS trio go to Antartica to check out the meteorite, which turns out to be a Kryptonian spaceship, Clark has another meeting with his father who tells him "oh yeah you have a cousin that my brother Zor-El launched to space to be safe cuz of the Kryptonian bullshittery we did" (I'll explain that later). Anyways Kara!

Kara Zor-El makes her first appearance in Action Comics #252 (1959) [Cover Art by Curt Swan and Al Plastino] where like her cousin was sent to space in a rocket ship to save herself after her part of Krypton was miraculously remained intact but meteors destroyed the lead shielding that Zor-El made to protect his people from the Kryptonite that was still present on their part of Krypton. Zor-El and his wife, Alura In-Zee, (she gets named much later) also made their first appearances in the same comic as Supergirl's debut. Kara has died in Crisis on Infinite Earths, had others taken up that mantle until her reappearance in Superman/Batman #8 (2004), and since then has made a name for herself in the pop culture zeitgeist with her appearances in the DCAU, my first introduction to her, the animated movies, her CW show, and in the movies! I highly recommend checking out Supergirl: Woman of Tomorrow. Its got a killer story by Tom King and BEAUTIFUL ART by Bilquis Evely and Mat Lopes!

Jor-El tells Clark about the Kryptonians getting their ass handed to them by lasers going in sharp angles you know "oh shit you do not fuck with Darkseid!"

Darkseid, created by the legendary comic artist Jack Kirby, is the ultimate evil in the DC universe and makes his first appearance in the comics in Superman's Pal Jimmy Olsen #134 (1970) [W&P: Jack Kirby, I: Vince Coletta]. Darkseid is everything that Jack Kirby hated about fascism rolled into one character. He's after the Anti-Life Equation, the ultimate formula that will break all of free will and force everyone to bow down to Darkseid's will. He's often seen fighting the New Gods, Justice League, or even Superman solo. The angled laser comes from Darkseid's Omega Beams where he shoots it out from his eyes and they will follow you until it hits their target bending around anything and anyone to get to you as seen here in this cover of Justice League #23.1: Darkseid (2013) by Ivan Reis, Joe Prado, and Alex Sinclair):

Based on that tiny bit of teasing in that scene I cant wait for the MAwS crew introduce him. Also shout out to the them for including the little Kirby crackles when the Kryptonian's got vaporized that was a nice bit of detail to honor Jack Kirby's most famous drawing technique!

As Jor-El and Clark have some catching up to do, Lois and Jimmy are attack by the robots in the ship and you might recognize the symbol on them as the symbol of Brainiac. I talked more about him here also that one Kryptonian from the finale of season 1 shows up again at the end of the episode. No confirmation on if its Zod or not but there is a good chance its Zod imo at least.

As our heroes encounter Task Force X (I talked more about them and Amanda Waller here), Amanda Waller is talking to one of her new super soldiers, Damage who we see can grow into a hulking size. This is a reference to...

Ethan Avery, aka Damage from the New Age of Heroes initiative from DC post-Dark Nights Metal where his first appearance was in Dark Nights Metal: The Casting #1 (2017). Ethan was a former soldier in the US Army who volunteered for the Damage program and was given the serum to turn him into the giant Hulk pastiche we see here on the textless cover of Damage #7 (2018) by Tony S. Daniel, Danny Miki, and Tomeu Morey. As Damage, Ethan was not able to control his actions for one hour and would go on a rampage against militant groups for US Army missions. Here in MAwS, we can see some of Damage's comic design be invoked in the cartoon with the giant hulking body MAwS has, the dark arms, and pants. very subtle but it works.

As the chaos from the fight subsides, we see the former spaceship transform itself and the surrounding ice into this crystalline superstructure and what famous isolated fortress looking building in the Antarctic in Superman lore does that bring to mind? THE FORTRESS OF SOLITUDE!

The Fortress of Solitude that pop culture knows made its first appearance in Action Comics #241 (1958) [Cover art by Curt Swan and Stan Kaye]. Superman in the Golden Age had a "Secret Sanctuary" in the outskirts of Metropolis on a mountain top in Superman #17 (1942), but it wasn't until the 1950s where the Fortress of Solitude was relocated to the Arctic which is shown here. The location gets changed again to the Antarctic post-Crisis on Infinite Earths. Superman would have other Fortresses of Solitude in other locations like the Bermuda Triangle, which is the latest or the Arctic again. Superman would usually keep things pertaining to his Kryptonian culture in the fortress like the Phantom Zone Projector or the bottled city of Kandor. Based on what we're seeing in MAwS it seems like they'll be setting this up as a new place for Clark to get in touch with his Kryptonian heritage.

What a fun first episode! Can't wait to see what the future episodes will have! So excited to return to My Adventures with Superman! My season 2 episode 2 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 3 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references in My Adventures with Superman comic issue 1 post is here

My season 2 episode 4 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 5 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 6 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 7 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references for My Adventures with Superman comic issue 2 post is here

My season 2 episode 8 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 9 Easter eggs and references in My Adventures with Superman post is here

My season 2 episode 10 Easter eggs and references in My Adventures with Superman post is here

My Easter eggs and references for My Adventures with Superman comic issue 3 post is here and if you missed it my Season 1 Easter eggs list is here

[xenosagaepisodeone]

For the last 2 weeks I've been transfixed on a strain of lost media I've come to call "bad memory induced media", where the supposed media in question does not (or at least more than likely does not) exist, but there are swaths of people convinced that they have definitely seen it at some point. There is rarely anything more to go off of for the hunt than a vague summary outlined in a post on some forum, but the lack of specificity allows people to fill in the blanks with similar types of media that they've seen, giving them the impression that they've already experienced it. I've found that this is extremely common for alleged lost shock media in particular, which isn't surprising. I talked a little about this on my LOL SUPERMAN post, and I get the impression that a similar strain of logic applies on a smaller scale.

Anyway, 2 major cases I have been looking at for a while are Saki Sanobashi/Go For A Punch and Evil Farm Game. Saki Sanobashi in particular fascinates me because an urban legend like this should have crumbled to the wayside by like 2018 at the latest, since that's when anime more or less became demystified to normal people. The basic premise is that it is an 80s/90s horror anime about anywhere from 4-8 girls trapped in a bathroom. The girls talk about their lives, hopes, dreams and philosophies before slowly going insane and dying one by one. If you like horror stuff you probably are already getting the vague impression that it sounds familiar- which could be influenced by any swath of media artifacts from Saw to the Russian Sleep Experiment creepypasta to the Ikea SCP to ClockUp's Euphoria to snippets of Battle Royale to that one Grisaia no Kajitsu arc. OP insisted he found it fully subbed on the deep web (omegalul) and hasn't found a trace of it since, implying some kind of murky origin or legal status (the OVA is not pornographic btw). As you can probably tell, I think this is silly. Like, so much goes into anime production that it would be difficult to hide any traces of this thing's existence. Someone had to voice act those girls. Someone had to sit hunched over a desk and draw that settei. OVAs were such a new thing in the 80s and 90s that both sfw and nsfw series were advertised in magazines. The only way that this could be so lost that not even a MAL entry remains is if it had been a student/indie production or something made for a single comiket event...but even at that....you're telling me that someone still managed to rip this from a vhs and subtitle it? And then chose to upload it to the deep web instead of youtube? even the title sounds like something google translated but didnt format correctly ("Saki Sanobashi" being gibberish while "Saki-san no Bashi" translates to "Saki-san's Bridge").

And yet there are people who will say "I definitely saw this at some point" because they saw a reaction image similar to the alleged scene where the protagonist smashes someone's head into a mirror. "The neck scratching death sounds familiar...." because you watched a higurashi amv! And OP did too, and thought it was so creepy that he involved it in his fake story. It's almost grating how much you have to suspend your disbelief to embrace that something like this exists in the exact way that stories like this insist. While many people have accepted that the series is likely not real in the last 4 or so years, there still persists a cohort of people hunting for Saki Sanobashi, likely because they are kids who are now too old to believe in Squidward's Suicide.

Evil Farm Game gives me a chuckle because it goes like this: a redditor posts to r/tipofmytongue about an old flash game where you play as a farmer who kills his wife and then has to hide her body while going about his farm tasks. The setup is completely fine and actually kind of reminiscent of a few story driven flash games I played on newgrounds as a kid. Many people came forward insisting that they had played this as well, one person even producing a link to a file from their hard drive that they couldn't open, but strongly believed that the game was there. A subreddit was even created to support the search. The twist is that it was a misremembered joke from a vinesauce stream.

Everyone knows that memory is an extremely fallable thing; people can be coaxed into believing that they did or saw things that they didn't with the correct prompts. What gets me is that a lot of people on the hunt for "bad memory induced media" seem to largely be hyping themselves up. They want to believe there is something that exists against all reason no matter what. It's chuuni in nature. Do not get me wrong- the interest in finding a cool, mysterious, haunting piece of media isn't lost on me, but dog, the dopamine hit of finding a previously lost 1985 commercial for almonds in a box of vhs tapes you got from eBay is the same.

[jesncin]

Since I'm re-sharing that Conner Superboy + Superman comic again, I wanna talk about what went into it a bit!

I've noticed a lot of fan discussion over how "in character" Clark's initial discomfort over Conner's existence is. Some people think it's too mean considering Superman is supposed to be a beacon of kindness. Others feel that any re-imaginings that involve the two of them instantly getting along erases that initial tension into conflict-free fluff. Granted in the original source material Clark had just come back from the dead so he had a lot going on, haha. But what about adaptations like in the Young Justice show where he didn't go through the Death of Superman arc? Clark is uncomfortable around Conner, but then Conner saves him in the finale and they're on better terms. It's understated and doesn't tell us a lot about either of them.

So that little comic I made was my attempt at tackling the initial tension between Conner and Clark. Since I wanted my take on Superman to commit to his immigrant allegory, I made sure that the way he responds to things all relate to that theme in some way. He has very personal feelings about what legacy means when he's the last of his kind. How does he pass on culture when he's so disconnected from his own? How does he nurture someone who will eventually carry all the expectations he's set for himself?

And then out of nowhere someone took that very personal choice away from him. Someone's gone out and made a new Kryptonian and Clark didn't have a say in it. It's a violation. Sure, Conner didn't have a say in any of that either, but that doesn't stop Clark from feeling very uncomfortable about the circumstances of Conner's creation. My hope is that by keeping Clark's characterization to his immigrant survivor roots, that initial tension towards his own legacy can still feel "in character" in a way that let's us view their relationship through a new lens. Superman should be allowed to have imperfect reactions to things, it makes him way more interesting.

Anyway this is foreshadowing for eventual Conner + Kara + Kal El stuff.