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maxwell-grant · 4 years ago

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Ok, but how would the Shadow get along with Superman?

I'm gonna try something a little different with this ask, because I couldn't really find the right words to answer it the way I usually do. So instead I took the more complicated route and ended up writing a fanfic of sorts, about potential interactions between these two I could think of.

I don't think I'll make a habit out of answering replies through fanfic but, I don't know, something about this question kinda demanded from me a different type of answer. I never wrote Superman before but I do need to get back to writing.

So here you go, the Shadow - Superman fanfic I wrote to answer this. Hope you enjoy.

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They were not friends. They were not enemies. They had their separate worlds to watch over, and rarely did they cross each other. Rarely did they meet under desirable circumstances.

The Shadow, as Superman knew him, was not a part of Superman's world. In more ways than one.

Clark knew that he was a man who was mainly active during the 1930s and 40s, that he had been a crimefighter active in the United States during that time, that he has some connection to Bruce and other heroes he knew, and that he has an associate related to Lois named Margo, but somehow, Clark could never find him on his own accord.

Even when he time traveled to said period, he could never find him. Lois and Margo share a bloodline, but Lois does not recall what exactly of what sort, not even under Clark's machines. When he asked some of The Shadow's associates, they could not recall him, and Clark knew for a fact they could not have been lying. Some of them existed in this world but with "ordinary" lives, and others didn't.

Although he seemed to come from an alternate world,there were times when The Shadow appeared to have history in this world as well. Real, tangible history, that seems to be willed out of thin air and to dissappear when Clark goes looking for it. Even Bruce seems to not remember him, and Bruce's the one who seemed to have spent the most time in his presence.

He couldn't quite say he looked fondly on his meetings with The Shadow, if he could be honest with himself. He was cold, remote, harsh and manipulative. He murdered criminals without remorse, something that even he admitted had soured his relationship with Bruce, and terrorized those he fought to a much greater extent than even Batman, who Clark already thought was going too far at times.

Clark knew he was not an evil man, he was certain of the compassion within him that thundered to protect the innocent, but Clark could hardly be certain of how much he knew about him in the first place. Clark, who could see through crowds and make a shopping list out of what each person had eaten for breakfest that morning, could not identify The Shadow's face through his mask, could not see what was behind his eyes.

Clark is extremely aware of the standards he must adhere to in order to operate as Superman, the ways in which he must be held accountable as someone operating above and within society. He understands the importance of his friends and allies that can stop and defeat him, the family he must look after, the reputation he must uphold, the control over his powers and a lifetime of experience in holding himself back. At times he was even grateful for the existence of Kryptonite as a desperate measure. He knows that Bruce goes through a lot of measures to keep himself in check as well.

But he knows little about The Shadow, who works for him, why they do so, who can hold him accountable, who is going to help him when he can't help himself. He worries about what his world must look like, to create a man like him, brainwashing people and gunning down criminals in the streets while laughing. How much good can such a man do if this is what his approach to justice looks like? What is the toil that such a grim approach to life has taken on this man's life?

He knows that overthinking is one of his worse flaws, but Superman can't help but dwell sometimes on the worlds he cannot save, on those that must take on such realities. He only wishes he knew how to find The Shadow of his own accord and try to bring peace to the man, even if he knows better than to assume peace is what he's looking for.

It is the nature of Superman to never stop trying to bring everyone to a world beyond death, darkness and sorrow, and to blame himself for those he cannot save even from themselves.

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It was a well-known fact that The Shadow always worked alone. And like most known facts about him, it was not entirely accurate.

The Shadow strives to cultivate the image that he's alone, untouchable, that all who work for him do so because he forces them to. That he always tells those he saves that their lives belong to him, that they are trembling slaves to a monster sniffing blood in gutters.

Distractions, lies, smokescreens he must create, to allow his agents to operate as spies, and spare them from the wrath of the police and the criminal underworld alike, too busy hunting a legend to notice the flesh and blood people working under their noses, people they would otherwise be all too happy to neglect or stomp on.

Misdirection, the secret of any magic trick. The true secret of The Shadow's invisibility.

There are days where the only positive thought in his mind is that his agents cannot join him wherever he goes.

The success of The Shadow depended heavily on the vast networks of agents and allies he'd gathered over the years, people from all walks of life who trusted him and had chosen to join him. Every courageous move, sacrifice and pivotal role they played was carefully recorded in his files, and never forgotten. They had skills and capabilities The Shadow did not, and The Shadow was proud to see the ways in which they would cultivate those into the betterment of the world around him.

And though the bridge between them was unassailable, though his ways and actions were secret and mysterious to them and they could never know more than he allowed, they received constant signs of The Shadow’s appreciation of their reliable cooperation, and at many points The Shadow had made said bridge less unassailable for their sake.

But they were not his friends. His allies were distant and occupied with fights The Shadow could assist, but not fight for them. His agents were subordinates rather than equals, expected to play the necessary parts and leave the scene for their own safety just as quickly. His friends were few, and often dead. And when it was the moment of danger, The Shadow fought alone. The protection of others came above all else, and on field, although they were expected to think and strategize for themselves and work together, The Shadow's word was final.

There could be no distractions, no hesitations. Those had cost him more than enough on the battlefields of the Great War, mistakes he would never repeat again. The sacrifice of companionship, his own personhood and self-preservation is an acceptable loss for the sake of those he must protect.

There are occasions when The Shadow is forced into circumstances beyond what logic and physics should allow, and in some of those occasions, Superman had been involved in them. There are occasions also where he has to work side by side with other vigilantes, and sometimes, they also include Superman.

He couldn't quite say he looked forward to working with Superman. His arrival almost inevitably carried chaos into the inner workings of reality. The existence of an omnipotent being able to crack planets with a footstep and liquefy crowds with a gaze, held back only by his human personality, was a danger that thankfully did not exist in The Shadow's own world, but was a worrying prospect regardless.

Few of his experiences with aliens and superpowered warriors could be said to be positive ones, and a lifetime of knowing the evil in the hearts of men had taught The Shadow how easily even the best of intentions and the most solid of morals could be corroded and destroyed. It didn't help matters that this being was also a public crusader and celebrity passing judgement on criminals, even while secretly holding a private dimensional prison to throw them into should they be sufficiently dangerous. Someone completely unstoppable and unaccountable, even to death itself.

The Shadow understood Superman to be a good man, a moral man who had been raised well to be the best he could. The Shadow respected and treasured the existence of those like him, men and women and everything in between that could breathe in the sun and uphold mankind, while he dwelled in the underworld to make sure those more like him would not rise to attack them.

But whatever the rewards of these partnerships, he was glad when they were over. His work requires full control. He cannot tolerate the loss of it.

Others can dream of better tomorrows and work to make them happen, his is the task of clearing the darkest paths so others need not tread them.

Hope, light and comfort are noble gifts, but they are not his to give.

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The first time they met had been the result of Vandal Savage's Hypertime Collider, a trap designed to keep Superman running circles through the timestreams, cycling through alternate versions of himself. He had landed in the 1930s, somewhat depowered, in a world where some allies of his existed, but superheroes were nowhere to be found (although some people reacted in terror at him, shouting "IT'S DANNER! HE'S COME BACK TO KILL US!", the significance of which was lost on Clark).

He had met a woman named Margo Lane when looking for this world's Lois, telling her he was a farmboy from Kansas lost in the big city looking for a friend with the same last name. Margo didn't recognize anyone named Lois, and Clark could tell she was only pretending to believe his story (even though it was true, in a sense), but through her, he met a tall, gaunt and hawk-like millionaire by the name of Lamont Cranston, a name Clark recognized from an old radio show Jonathan used to listen.

He had an idea of who The Shadow was. An old detective from a radio show or pulp magazines, sure, Superman's been to worlds he used to think were fictional before, some people still think he's as real as Santa Claus (who was going to join him and the Easter Bunny for checkers next Sunday).

Their conversation of platitudes was cut short, as it wasn't long before the Hypertime Collider was soon transporting him to a different time period, but before he was ejected, he remembered the moment their conversation ended.

Shortly before he could feel the Collider breaking and warping time and space in a chokehold around him, he remembered an eerie silence fall on the room. Though his hearing senses in this world were diminished, he could still pick up minute sounds from miles away, and it was a strange sensation to hear the sound of nothing. A sound that did not exist but silenced everything around it with deafening precision, a sound that Clark had not heard even in the deepest recesses of space, when he could still hear his body's metabolism at work. For a moment, though he did not need it to survive, Clark worried his heart had stopped working, for he could not hear it.

It surely was the Collider's effect at work, he reasoned.

But in that brief moment, whatever surprise he expected to find on Cranston's expression was nowhere to be found. Instead, scattered shadows slashed across his face as the air around him changed and he closed his eyes. He was still wearing Cranston's face when he opened them, and once again, they did not match his face.

The last thing he remembered before his ejection was a voice that cut through the air and the meters separating them, that sounded like a python hissing in Clark's ear, from everywhere and nowhere at once.

"This is not your world."

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The second time was in another dimensional sojourn, this time of his volition.

Having borrowed a portal from Cyberwear Enterprises, Clark was rehearsing a speech intended for the Reginellian people of the Bohren System, one he was expected to give through blinking in reverse morse code, and in order to ensure the atmosphere of their planet would allow them to hear him, Clark intended to pay them a visit. But instead, he was transported somewhere else.

Before he could properly register the time period and location he had landed, he had encountered The Shadow in the middle of rescuing a steamship on fire from sinking.

He was clinging to the side of it unseen from the panicking passangers, drilling bullet holes to the bottom of the ship so it would fall to the side and steer clear from a passing fireworks yacht. He was holding a rope attached to a nearby tugboat with one hand, and with the other he was clinging to the boat's window. The tugboat was moving outside of the steamship's range, and as it moved, it would drag The Shadow and tilt the steamship as he gripped it, just enough to prevent the steamship from colliding head-on with the coming barge.

The tugboat had three men within it, one piloting it and two holding on to the rope that The Shadow had attached, working along with The Shadow to try and pull the steamship. One of these men had a missing eye and was dressed in aviator gear, presumably the pilot of the autogyro atop the tugboat. The other was a tall, muscular black man in suspenders, who dwarfed the pilot in both size and strength.

The strain of their pull could dislocate The Shadow's arms at the very minimum, if not outright kill him, his plunge would carry him 20 feet into the water and potentially under the sinking steamship. Still, they pulled with grim determination, although the boat driver had his eyes closed, and Clark recognized the Yiddish mutterings coming from his mouth as a desperate prayer.

Though they did not see him, these men were extremely thankful when Superman had blown out the inferno with a single breath, and pushed the boat all the way necessary for it's passangers to land on the barge safely, and rescued The Shadow.

Of course they knew the Chief was gonna pull through, he always does.

If The Shadow was thankful for Superman's interference, he didn't show it. In the second he had regained enough strength to talk, he rattled off dozens of names, of passangers in the steamship that had been bruised, by either the flames, the panicking crowd, or the criminals that The Shadow had stopped. People that needed to be taken to medical assistance faster than the ambulances could carry them, of family members that had to be contacted.

He did so without looking at his rescuer, for he remembered Superman, who expected his presence in this timeline to have been erased after he'd destroyed the Hypertime Collider.

Nothing indicated it hadn't been.

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Their most recent encounter was the outcome of an accident where Vandal Savage had trapped Superman in the Arctic and rebuilt his Hypertime Collider, in the hopes of contacting alternate versions of himself so they could all gain Superman's powers and conquer their worlds.

One of said versions was hunted by The Shadow through the portals. The adventure ended rather quickly as the Savages all turned on each other in their tried-and-true method of solving problems with large rocks, but amidst the chaos, a final burst of energy had granted The Shadow a temporary access to Superman's powers.

Thoughts passed through Clark's head of the last time Bruce had accidentally gained access to Superman's abilities, and how despite his best intentions, Bruce couldn't help but overestimate his own ability to wield said powers responsibly. Of how many times he's come across iterations of Bruce who've gained superpowers and used them poorly or tyranically.

He thought of how often he needed to reign himself back, and of the man in black who stood before him, with eyes like thunderstorms ready to break.

The ways in which he is like Bruce, and the ways in which he is decidedly not.

But before Superman could take any sort of action or even ask how he was feeling, The Shadow turned around silently and started walking, straight in the direction of the Fortress of Solitude.

Upon reaching it, he took the million-ton key from beneath the rug that spelled Welcome in a million languages, opened the door, and walked straight into a high security anti-Superman cell within it, designed specifically as a desperate measure against rogue Kryptonians, only stating Superman was going to have to watch him so he couldn't escape.

Clark had never even told him about the Fortress.

He stayed there for the next 12 hours, as Superman ran tests on him to ensure his body wouldn't be negatively affected by the transformation. Clark chose not to remark that some of the bone-deep injuries he had spotted on The Shadow's body previously had healed, as he knew it wouldn't take long for him to acquire new ones after this was over.

They talked briefly at points, and for much of it, The Shadow assumed the façade of Cranston. Sometimes he remembered to breathe and blink, things he forgot to do with startling ease once he no longer needed them.

Clark understood it to be a diplomatic gesture, a façade over the untameable and fearsome Shadow who was frankly unnerving to be around. Even a kind gesture, an effort to address Superman as a man asking for help. Not different than how Superman would prefer to be Clark Kent in order to approach people and ask questions and say things that Superman could never say.

There was a discomfort, of course. There would always be one between the two.

Still, Superman took it as a victory when, after the 12 hours were over, he heard that familiar hiss, with equal intensity but no aggression or even contempt, spell out a "Thank you", as he turned around and was unsurprised to find The Shadow no longer there.

They were not friends, they were not enemies, they belonged to different worlds. They were opposites in their battles for truth and justice.

But truths are often opposite. It is a truth that not all opposites are opposed.

Truth is often as chilling as it can be comforting.

#replies tag #superman #the shadow #clark kent #lamont cranston #my writing #i gotta start putting more of my writing out there and idk i just felt like i had to answer this question this way #i don't question what my brain tells me to do anymore

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gothamslittlejester · 4 years ago

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Obsessive Ledger!joker x reader

I’ve been spoiling you all recently with all this Ledger!Joker, so you’re welcome 😎 (but also so sorry because I did go on a hiatus without saying anything for half a year 😬). Let me know in the asks if you want something in particular, I love writing for J so much! I have a few already that I am working on as we speak, so stay tuned for those 💜

Below are headcannons for a more yandere and darker joker than I usually write 👻 nothing abusive here because J is still very much my comfort character, but it definitely includes over-possessive, protective and stalker themes, as well as encouraging reader to join in on his murderous chaos

Warnings: morally ambiguous reader, joining joker on his “fun” i.e. mentions of torturing others, blood, weapons, severed body parts as gifts, implied seggsy time

· Before adoration, fondness or love, the first feelings Joker had for you was pure obsession. Obsession with what you thought and felt, what you liked to do and why you liked to do them. Obsession with your safety and the need to protect you, which led to jealousy and possessiveness very often. It was primal, and longing, and left him thirsting after your presence like a greedy, hungry wolf. He wanted you- needed you- and he was going to get you

·In spite of a period of flirting, suggestive jokes and hinting touches, Joker made it clear pretty quickly what his feelings were for you. Because of his lifestyle death is like a waiting shadow, and wasting time on what he wants is just not his style

· Quite soon into the beginning of your more romantic relationship, you move into his hideout for the sake of your safety, which calmed J down with some of his possessiveness and paranoid thoughts. He knew his home was the safest place in Gotham, excluding Bruce Wayne’s cave, and with you in it that meant you were safe too.

·When he’s gone, he’ll leave a huge shotgun behind for you to use in case of emergency, as well as Chechen’s Rottweilers. You’ll find some stray knives and pointy objects hidden in your coats too, “just in case”, but its more heartwarming to you than annoying

· He loves to lay on you at night, whether it be right on your chest to hear your heartbeat, or on your belly where he can feel your soft skin pressed against his scared cheeks. Not only is it pleasant and lets his touched-starved soul get some attention, but it also makes him hyper aware of every shift or move your body does while asleep. It also prevents you from sneaking out of the bed to run away, which is one of his more paranoid thoughts. Don’t try to move away or push him off, he will smack your hand back and snuggle in deeper, wrapping his arms around you like a snake

· He doesn’t care what insecurities you have regarding your appearance; he admires every single piece of you and will cuddle with whatever he wants, so push your anxieties aside because Joker hungers for all of you

· His gifts can sometimes be very macabre. Generally, he loves to spoil you with an array of things, such as new clothes or lingerie, plush toys of your favorite animals, snacks you said you’ve wanted to try, or even just random knick-knacks he stole from his victim’s homes. However, if he’s feeling adventurous or extra flirty that day, he will bring you certain body parts to symbolize his feelings for you.

· You’ve definitely found your fair share of human hearts in your fridge, because he adores how your heart races when your scared. You’ve found a pair of lungs stuffed in there too, because the little gasps you make when frightened or anticipating his touch are delicious to him. You went to get milk once and right behind the carton was a tongue, symbolizing how much he relishes your little talks and midnight conversations

· Once, he brought over a whole corpse, the body decomposing and gnarled, skin ripped to shreds and a face pummeled so brutally it had concaved. “Don’t need to worry about them any more doll,” he giggled, spitting on the body with a fervor that thrilled you. It took a few minutes of intense staring- why did they look familiar?- but then it clicked in your mind; it was the very person you had fumed and vented to Joker about last night, right before he had spontaneously left

· “J,” you began, eyes nearly popping out of your head. “Did you kill him... for me?”

· “ ‘Course I did, sweetheart.” He rolled his eyes like it was the most obvious thing in the world. “You know I’d, uh, kill anyone for you. Nasty fucks like them especially-ah.”

· If you have to leave for longer periods of time, whether that be for school or work, Joker will always have a few of his men stalking you from a distance, making sure you’re safe and that no one dangerous is within a 1 mile radius of you. They also have explicit instructions to take photos and send them to J, because he likes looking at your oblivious little face.

· He’d do it himself if he has the time, which he sometimes does, but he too is quite busy with his own things (when anarchy calls, as they say), so hiring lookouts is the next best thing. If he could, he’d have you right by his side at all times… how pretty you’d look in a soft purple leash... but that’s just daydream fuel for now

· Speaking of photos, Joker knows his ways around a camera. He makes... lovely home videos that he sends to news channels in his free time (rip fake batman) and he continues to practice at his craft from time to time. He even won a deepweb award for best snuff film of the year, which boosted his ego to ungodly heights. He’s absolutely delighted about it and hints that you should watch it on one of your movie nights, but he does warn it’s not for the faint of heart

· Taking videos and photos are one of his favorite hobbies, and if you’re down to clown… he’d certainly bring it in the bedroom

· Speaking of his more thrilling hobbies, Joker will constantly suggest you join him on his escapades or help out behind the scenes, especially if he picks up on any sort of interest from you concerning his ‘job’. Joker is an observant man, and he reads you like a book. He knows you likely have some dark, sinister thoughts running around in your head - you must, if you’re with him- so he does everything he can to encourage you to let them out. Joker will never judge this side of you, no matter how grim. He’ll try and harness it, bring it to light. He hates the thought of you shying away from your true self, embarrassed of your darker nature, but what he hates even more is you thinking he’ll be disgusted with you or disappointed. How can you think that?

· “No no no, bunny, not me. You’re my muse, so give me some inspiration hmm? Tell daddy exactly what’s going on in that mind of yours...”

· If you do show interest in the darker side of his job, he’d smile so big that his scars take up his whole face. He’d teach you everything; how to fire a gun, how to stab someone, how to hide a body and how to torture one. He’ll spread out all his weapons on the floor and let you choose which one calls to you, like a deranged ceremony, informing you on the pros and cons of each one. He’ll even invite you into the warehouses he designated just for torture, which are just as gruesome and sinful and they sound

· J let’s you watch as he hurts his victims, whom are purposefully rapists and killers to make you feel less guilty, and let’s you join in on the fun whenever you gain the courage. He even went as far as to buy a whole torture set off the black market, from scalpel to needles, just to give you options. Joker loves to see how creative you can get, and it’s one of the few times he lets you take complete control

· “The floor is yours, bunny. Impress me.”

· He is down for pretty much anything, and that mindset is not exclusive just to the bedroom

·Any couple activity you fear might be too far or creepy for other people… is right around J’s alley. Weird kinks or foreplay games you want to try? No problem. Making love in abandoned houses or cemeteries? Now that’s his type of romance. You want to carry a small vial of his blood around your neck? He is all game, but only if he gets one of you as well. Matching knives? He’s blushing. Satanic blood ritual from a sketchy website that’s supposed to bond your souls for eternity? Perfect, his weekend plans were centered around you anyways

· Now…If he feels that you’re not giving him enough attention or start to push him away, he will resort to crazier means to obtain your love back. He’ll set off random bugs, rats or even henchmen into your home to scare you, gleefully waiting to hear you cry out his name in fear. Like a small, dependent little kitten, mewling for their protector. He’d come in, guns ablaze, looking for whatever scared his darling angel, killing them on sight. You’d run into his arms, tears streaming down your face as you cling to Joker like your life depended on it- just how he liked it. He’d coo mockingly and pull you closer, rubbing your back as he unashamedly basked in your physical touch.

· In general however, your soft caresses, kisses and reassuring words are enough to keep him very pleased. He knows you adore him and are head over heels obsessed just like he is, and that truly does put a smile on his face.

#joker x reader #ledger joker x reader #ledger!joker x reader #joker headcannon #dark knight joker #x reader #dark headcannons #yandere

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hellyeahheroes · 3 years ago

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Darkhawk is a straight up good time and a start of a new comic bro duo

Not gonna lie. I was never a fan of Darkhawk. I did not like much of any of 90s Marvel especially early 90s Marvel where every character was pretty much a Punisher clone and it had unimaginative supervillains who were essentially mercenaries with power armor. Darkhawk, to me, was just edgy Spider-Man and the fact that Chris Powell was supposed to be a darker reprise of Peter Parker is totally expected. So I initially came to this comic for the Miles appearance out of fear that the character was going to be misrepresented. Turns out I should have read the name of the author simply because I love reading Kyle Higgins’ stuff.

Higgins wrote Batman Beyond 2.0, probably the best Batman comic run since Batgirl, and I am glad he is writing for Marvel. I think he has also written Nightwing which was pretty good. So the writer has heart and an understanding of what makes a character appealing and knows how to make a character last beyond his involvement. What makes Spider-Man a continuous arc of misadventures and trials for Peter is that Spider-Man has a narrative framework that has consistency that carries over. The reason why a lot of Avengers solo books don’t last long is because there is rarely enough consistent elements to get you to care. Beating the bad guys is not enough if you, the reader, have no investment to stick around after the bad guys are defeated.You are going to need something to go beyond just this arc. And Spider-Man’s narrative framework is built around that. The bad guys are the villain of the week, but a great supporting cast sells you to stick around.

And Higgins gets that.

This is Sarah Lu, the sister of Derek Lu. Derek died and it serves as somewhat of a motivation for Connor to be Darkhawk, but to make Derek’s death meaningful, Higgins brings in a reminder and possible love interest and antagonist Sarah to remind the reader that this story continues beyond this mini. We are possibly getting a re-visitation of Connor and Sarah is going to be there...hopefully. Derek’s death no longer is just a memory. It’s the people that were left behind. His family and friends which include Connor who feels guilty because he indirectly had a hand in his best friend’s death. And that complex relationship goes beyond just this mini. It’s a struggle that you the reader cares about because it’s relatable and sad all at the same time. Sarah is resentful of Connor because of his popularity taking the attention away from her brother’s death.

Oh right, Connor has MS. He never revealed to the public that he has MS which would affect his basketball scholarships. And yes, Basketball recruits are that scummy to go to a funeral an attempt to appeal to you btw. I know from personal experience. You see those little entanglements and conflicts keep you hooked in a character. You want to see where the story goes from here.

Then you have the battle of High School Prospects made into a classical super hero vs supervillain battle. Connor is a glowing national superstar. Basically Lebron James. He has a lot of promise and it is a risk of being ripped from him because he was diagnosed with Multiple Sclerosis. Shawn lacked the talent of being a Quarterback that played in college and turned to peddling super weapons on the street. He is so mad about it that his maniacally quoting his scouting report. This is a new dynamic in superhero comics because most of the time, it is some nerd or outcast that becomes a hero and the jocks become antagonists in some form. Here we have two jocks duking it out and you the reader have to care about their sport or understand it on some level why they acare about sports so much. Shawn serves as a specific foil to Connor in that when he did not become Darkhawk, Basketball was all Connor had. He had nothing but sports and his athleticism. Shawn came to the same crossroads as Connor and he faltered and became an arms dealer.

It’s a refreshing dynamic.

And the reason I read this book in first place!

I commend Higgins choosing Miles to be the Spider-Man introducing this Darkhawk to superheroism because Peter would have scared the crap out of Connor with the whole great responsibility speech. Miles’ always is there to be a character for levity and wisdom for Connor. He never pushes or judges Connor, and he fills in a hole of friendship that Connor needed. Miles likes basketball and isn’t burdened with typical jock on nerd violence PTSD like Peter is. He meets Connor where he is at and even relates to him in hobbies while understanding that Connor has to make the choice to be who he wants to be.Miles was the best choice to be Connor’s guide and it’s nice to see the gregarious side of Miles. You can see how Miles has a lot of friends in and out of his superhero life in just how he approaches Connor. You don’t get this a lot in his own comic because well...Miles is dealing with shit.

And that is how you write an origin story, folks. This was really good. I came in expecting to defend against any out of character moment for Miles and came out with a new appreciation for a new character. Not once, did this comic deal with internal monologue telling you what a character is thinking. Instead, it relied on the artistic talents of Juanan Ramirez and Erick Arciniega to show you what this very expressive character was thinking. Connor is always speaking to someone or speaking out loud to himself and it makes every word, no matter how small, feel important.. I don’t think this comic will blow you away, but actually make you look forward to this new character and whatever future stories are in store for him. I’ve been told that reviewing this comic has inspired people to want to pick it up and that’s great, man. But yeah, all in all, this was really good.

@ubernegro

#darkhawk #connor young #miles morales #spider-man

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thatasianstereotype · 5 years ago

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Shit. I Got To Deal With This Bitch (Again).

The third installment of my Adrien x Damian AU.

First: Fuck. I’m Gay.

Second: Damn, You’re Looking Fine.

Well, would you look at that? I’m not dead after all. And this took a while to put together understatement of the fucking century. The reason is because life is a busy little shit the English language will not cooperate. I’m thinking of a scene I want to write and somehow words are lost in translating that into the computer and I end up with a white blank screen in the end.

But moving on to the fic. At first, I was going to have the whole Gabriel-being-put-in-jail and former-friends-thing put as an aftermath because I really wanted to write Marinette and Adrien meeting the Waynes. But I decided to make the aftermath a full-blown fic from @michaelshadow7779′s ideas and extend the trilogy into a four-part series.

This part will be focused on what happened to Liar-la, Ms. Bustier’s class trying to gain back their friendship with Marinette and Adrien, and Gabriel getting a special visit from both Robin and Ladybug.

Again, this is a crack writing where creative liberties were definitely taken.

Lila Rossi is a fucking bitch and everyone —Like everyone this time— knew it.

Her reputation was now in shambles (she’s now known as that pathological liar or that lying bitch) and Ms. Bustier’s class could only stare at her with hatred and anger —feelings that were once directed at Marinette.

No one entertained her lies anymore. No one really hung out with her anymore. She sat at the back of the class, staring daggers at both Adrien and Marinette all day (just wishing for an akuma that will never appear).

Unfortunately for her, Lila couldn’t transfer out of class and with only 2 more months of the school year left, she couldn’t transfer out of school so she was stuck dealing with the consequences of her actions: being a fucking social outcast.

Because the class was not at all happy with their supposed friend. Tensions ran high during school. Things took a turn for the worse when Ms. Bustier tried to “fix” things in her own way, mentioning how the only reason Lila lied was because of her “disease” and the girl simply wanted to make friends.

Needless to say, the class did not appreciate their teacher making them out to be fools all this time.

It was Alya who ripped her a new one. Césaire definitely has a set of lungs on her. And Adrien would be lying if he didn’t say how utterly satisfying it was to watch.

Karma was a bitch.

Payback was a bitch.

And Adrien was fucking living in the aftermath. He wondered if it was mean (probably but he didn’t care) that he wished he had popcorn right now.

All in all, life returned back to normal.

Well, kind of.

Unfortunately, with the 2 months left in the school year, Ms. Bustier couldn’t exactly be let go because apparently Mr. Damocles didn’t want to deal with the whole paperwork, trying to find a new teacher to replace her, and dealing with the so-called Akuma class.

That fucker.

So essentially, he left her at the mercy of her unhappy class, saying she will be let go at the end of the school year.

Ms. Bustier was unhappy with the arrangement. The class was unhappy with it too. Probably even more so. Since they still got to deal with Rossi’s bitch ass on a daily basis.

The remaining 2 months of school were spent in a passive-aggressive war. Teacher vs. Students. Where technically the teacher should be respected and they should learn from her but the class was unleashing their collective pettiness.

And Caline Bustier was fucking done with this job. She wanted to go back in time to when she thought being a teacher was a good idea and shake her past self silly. At this point, she was just counting the days until she can leave for good.

“Kim. That’s the third time you slept in class this week. If you don’t pay attention, you won’t pass the test next week.”

“Hold up. I got to ask the certified pathological liar where I put all the fucks I give.”

“Ok. Don’t forget to ask Marinette if you can actually trust her answer.”

It was glorious.

Adrien and Marinette were definitely enjoying the show.

Marinette put down her sketchbook and stared at Damian for a minute. “You’ve been here for a month and a half already. Are you still doing business for your dad?”

Damian Wayne became a common sight around Françoise Dupont High School and can usually be seen around Adrien and Marinette. After a week of constantly seeing him hang around lunch or in after school activities/clubs, seeing a Wayne soon lost its novelty and people accepted it as the new norm.

“I’m already done with what I need to do at WE’s Paris branch.” He casually plucked flowers from the ground to make a crown for his mon amour who was happily chatting with Luka and Kagami.

“So why are you still here? Don’t you have your own education to finish?”

“My schooling is of no concern. I already earned my diploma a few months ago. It was not at all difficult when I’m already light years ahead of my peers in regards to the dismal educational system my Father forced me to attend."

She raised an unamused eyebrow. “Uh huh. And your family isn’t worried at all about you, a minor, being in a foreign country all by yourself?”

“They know I’m here. I already informed Father that I will be extending my stay here.”

“And he just accepted it? Just like that?”

"I’m responsible enough to handle myself. I surely do not need Batman watching over me. And you don’t need to worry at all. I’ve been away from home for far longer.”

“You’re completely missing the point.”

“On the contrary, I thought I answered the question perfectly.”

When they weren’t playing a petty war with Bustier, the class was trying to get back into Marinette and Adrien’s good graces by inviting them to everything and trying to include the pair in their lives again. They wanted to be friends with their Everyday Ladybug and Sunshine Child again.

“Want to do homework together?”

“How about a study session?”

“We’re having a sleepover at Juleka’s place, Marinette. We can talk about each other’s love lives like the good old times.”

“Wanna see the new movie that came out, Adrien? I’ll even pay for your favorite snacks.”

“Come on you two. Let’s hang out in the park. We can get Andre’s ice cream too. It’ll be fun.”

Spoiler alert: It don’t work. At all.

“Hey Marinette, Adrien! Why don’t you sit with us today?” Alya eagerly waved at them from where she was sitting with Nino.

It was a part of a long list of efforts that the class is trying to include the pair in. And it would be nice if it was just to be nice and friendly, you know. Adrien wasn’t going to be outright mean to them even though they fucking deserve it after how they treated the beautiful and kind goddess that was Marinette because Mari asked him to “Play nice, kitty”.

But the class kept trying to slide the whole Liar-la thing under the rug as if it was nothing. As if they didn’t shit all over their good name for a two-faced bitch. As if they had no part in making them feel like outcasts just weeks before. As if they didn’t called them hateful names or gave them scornful glares.

And that’s just fucking wrong. Because it wasn’t nothing. And they weren’t good pals anymore. So stop fucking acting like it.

Adrien was so done with his former friends/classmates. Marinette even more so.

Because apparently, saying “Yeah, We want nothing to do with you anymore.” is not fucking clear enough that the pair wanted nothing to do with their former friends.

Like what the actual fuck.

Luckily, Mari can sense her kitty’s bad mood and quickly laid a hand on his arm and led them to their seats in the middle row since Liar-la took the back and they will be damned if they sit next to her.

Alya was utterly aghast. She and the others were trying their best to have things be back to where they were before. Doesn’t Marinette and Adrien want things to be like they were before? When everyone was friends and they were making happy memories together?

Why won’t they accept their olive branch? They’ll be friends again and everything will be okay just like it was before Lila came.

Let it be known that Alya Césaire was not a patient person. Like at all.

She was fuming (like you could see the smoke coming out of her ears) as she walked up to Marinette’s desk, just bursting at the seams with frustration. “I don’t get it. Why are you so cosy with Adrien instead of us? Did you forget he supported Lila too?

“That was—” Marinette spoke up in defense of her everything-that-actually-matters brother.

But Alya ignored her and bulldozed right over, slamming her hands down on her desk. “Yeah. He changed his mind later on but the point still stands that he was on Lila’s side just like us so why are you willing to be friends with him but not me and Nino? We were best buds.”

“Adrien was friends with Lila unwillingly, unlike you guys. His douchebag of a father wanted him to play nice with that harlot for some reason and he had to go along with it or risk being pulled out of school.”

Alya rolled her eyes (She literally rolled her eyes at that) before crossing her arms in front of her chest. “Please. That’s probably a pretty little excuse he gave you be on your good side again. We all know Gabriel will never actually do it.”

“Are you perhaps referring to the man who rejected the idea of a birthday part for his own son or makes Adrien attend constant photo shoots and a crazy schedule to follow that makes it hard for him to hang out with his friends regularly. That Gabriel?”

At that, Alya faltered a bit as she uncrossed her arms.

“Look, Alya. I’m fine with being friendly classmates but I’m not going to be your friend again.”

And Alya —who wanted things to just be okay again and wanted to go back to being Marinette’s best friend, who was tired of days trying to put so much effort into being Marinette’s best gal again only to be rejected every single time— just let whatever came into her mind to slip out of her mouth. She didn’t watch what she said next and in doing so burnt the last bridge she ever had to Marinette.

“Maybe Lila was actually right for once when she said the only reason you’re close to Adrien was to use him to get ahead in the fashion industry.”

Oh shit.

She really done did it now.

It was at this point that Marinette’s infinite patience and kindness snapped. Adrien scooted his chair back a bit to get out of the crossfire. He’s a dumbass kitty but he still has self-preservation.

The grip on her pencil tightened as her eyes narrowed and grew darker, her voice ice cold.

“You were the one who decided we were done being friends, Césaire.”

Alya was taken aback, frozen at the biting harshness Marinette directed at her. Whatever comeback she had died in her throat.

Mari let out a deep breath and her voice was back to neutral. “Look. Maybe someday in the future we can be friends again. But not right now. Please respect my decision.”

And that was the end of that.

Well kind of.

Because the ice queen treatment didn’t deter her at all. Alya still persistently tried to get Marinette to be friends with her again until Nino pulled her away and forced her to stop it with her ridiculous antics which aren’t working.

The rest of their former friends now classmates got the message and left the pair alone. They were friendly and cordial with each other as common courtesy dictate but they had no interaction beyond that. They were nowhere near as close as they once were before Liar-la happened.

Anyway, school went back to normal. Well as normal as it could be with all the recent changes.

Nothing was as it was before.

And Marinette and Adrien were fine with that.

Mari was hanging out with Aurore and Mireille for the afternoon so Damian and Adrien had Mari’s room all to themselves. They were currently playing video games.

And although the Wayne boy was the perfect gentleman who doesn’t let his hormones rule over common courtesy and a proper courtship, Plagg was there to supervise the lovebirds (with a boatload of cheese to keep him company of course).

He likes to think of himself as laid back and chill who cares deeply about his kittens. And Adrien is a pure innocent little bean.

Don’t get him wrong. He does like Wayne as a person. The kid’s attitude and personality is a fun riot to witness. But the major plus is how it is beyond obvious Wayne adores and cares greatly about Adrien. He is a good boyfriend to his chaotic gay sunshine baby.

But after all the shit and drama that went down with his scumbag of a dad, Plagg was just feeling a tad protective of his kitty.

Just a tad.

They have been dating for close to a month now. He wonders if they are going to do a one-month anniversary. Is that excessive? Or was that normal? But Adrien still can’t get over how he landed such a hot and amazing guy as a beau.

If only he could go back in time to visit his insecure and confused little self and reassure him that they had game all along.

“Fuck. I lost.”

Dami smirked. “That makes it 7 to 5 in my favor.”

“I don’t care if you’re drop dead gorgeous. I’ll beat your pretty face in the next round.”

Hot-And-Sexy had an amused grin on his face. “I love you too, babe.”

Marinete and Damian are finally making a plan to get Hawk Moth to answer for his crimes. Needless to say, they have their differences on how to handle Gabriel Agreste.

“I vote to have Hawk Moth taste my blade.”

“We’re not killing Adrien’s dad no matter how much he deserves it.”

“I can get away with it.”

“So can I. But murder is still illegal.”

Naturally, discussing how to confront Gabriel and coming with a good solid plan that satisfies both teenagers took some time.

Adrien entered Mari’s room, humming a bit as he carried a tray filled with homemade snacks. He perked up seeing his two favorite people in the world getting along so well.

“Hey guys! What are you up to?”

Damian and Marinette glanced at each other for a split second. They didn’t want their Chaton to worry about Hawk Moth so they didn’t share any specifics.

It was Dami who spoke up. “We are discussing the legalities of assassination.”

Mari facepalmed.

Luckily, Adrien was a pure oblivious child. “That’s nice, babe.”

With all the strange things he’s seen (namely, the Miraculous and getting powers from tiny little talking animals), Gabriel will like to say he shouldn’t be surprised.

But he was.

Luckily, he had enough self-control to not show his surprise in an obvious way, just a raised eyebrow towards the two superheroes standing in the middle of his office.

“To what do I owe the pleasure, Mademoiselle Ladybug and Monsieur Robin?” Pleasant and neutral.

Ladybug he can kind of understand her presence. He is a supervillain after all. Wait. Maybe ex-supervillain now. Because he hasn’t been doing villain things for a while now since he misplaced Nooroo’s brooch and couldn’t find it no matter how many boxes of unsold Miraculous replicas he went through. And he went through a lot (that is not an understatement). Amazing how much free time he has when he isn’t stalking on the watch for negative feelings.

But what was Robin doing here? He wasn’t aware the Gotham sidekick was in Paris in the first place.

“We are aware of your alter ego, Hawk Moth.”

He sighed internally. This wasn’t going to end well. But he hasn’t gotten this far by bowing down easily.

“Just because I am a genius recluse does not mean I have supervillain tendencies.”

Ladybug was unimpressed as she crossed her arms and stare at him with a deadpan look. “But you do have supervillain tendencies. I have yours and Nathalie’s miraculous who told us all about your plans.”

Huh, no wonder he couldn’t find them.

But anyway, the gig was up. Nooroo and Duusu were very emotional blabbermouths. The main reason why he couldn’t let them out of his sight —besides needing them to transform into bad guys of course.

“Then you know I had a good reason why I became Hawk Moth.”

“To bring your wife back. Yes, I am aware of your ‘master’ plan.”

Maybe he can appeal to their sympathy. After all, heroes got to have empathy, right? “It was for Adrien’s sake to have his family back together.”

Apparently, that was the wrong thing to say.

Because next thing he knew he had a razor sharp sword against his neck. He didn’t even see Robin move.

“Do not speak of his name, you traitor scum.” The Gotham hero growled. “How dare you preach about your son’s happiness when you are the one who have been neglecting him for the past years. Do not say you care for the boy when you never once showed an ounce of love towards him.”

Why is Robin so protective towards Adrien? Do they know each other well?

But Gabriel’s questions were immediately banished to the back of his mind. Because right now, he was righteously fearing for his life. Prison sounded better than death. He glanced towards Ladybug. He knew she, at least, wouldn’t let him die. She was the picture perfect hero after all.

Who was facepalming at the situation. “For the last time, we are not killing Agreste.”

Unfortunately, Robin did not remove the sword. “And as I keep saying, no one will have to know.”

“I will. I am literally standing right here as a witness.”

“You may look away if you are squeamish.”

“...That’s not the problem.” It was time for Ladybug to pull out the big guns. “And if you go through with this, you will make your boyfriend cry and he will no longer want to date you.”

It took a few seconds but Robin eventually lowered the sword and addressed Gabriel. “Do not presume that because you have no received death today that you do not deserve it. The only reason why your guts have not decorated this room is because I do not wish to make my mon amour shed tears for such a despicable man.”

Ladybug spoke up next. “We are going to report you to the authorities. Robin and I have enough evidence to put you away for life.”

To live for another day, Gabriel makes the smart choice of quickly surrendering right then and there.

“Mon amour, I come bearing both good and bad news.”

Adrien looked at Dami confused. “Okay? What’s the bad news?”

“Your sister have unfortunately stopped my attempt to slay your wicked father.”

Aww.

Adrien’s squishy little heart filled with endearing fondness at how much Hot-And-Sexy cared about him.

“Killing my father isn’t worth going to jail, Dami. I’m sure you can pull off orange but Mari will probably bar me from ever visiting you to teach you a lesson.”

He considered that for a moment. “That is true. Marinette is a frightening terror.”

“She’s the greatest thing to happen to me.”Adrien swooned at his goddess before remembering his boyfriend was with him. “You’re a very close second.”

But Dami was smiling fondly. “I know. I knew what I was getting into when I asked you out. I will never get in the way between your sibling bond.”

Aww.

He could feel his squishy little heart almost explode from all this sugary cuteness from his vain and egotistical Adonis.

“You’re adorable. So what’s the good news you have for me?”

“Marinette and I have finally dealt with your father. He will answer for his crimes in front of the Parisian authorities and you will not deal with the repercussions of being related to someone as vile as he.”

“Does this mean I don’t have to legally change my name to Dupain-Cheng after all?”

“You’re already one. Not sharing their name does not make you any less of one.”

Adrien beamed, smiling brighter than any sun. He loved being part of the Dupain-Cheng family and it was nice to be acknowledged as one of them.

“Of course. Being a Wayne is an honor too.” Damian said casually as if he was simply talking about the weather. Only the twitch of his fingers belied his nervousness.

Adrien interlocked their fingers together. “You have to buy me a pretty ring first, Mr. Hot-And-Sexy.”

The next week was kind of crazy to say the least.

Gabriel Agreste was outed as Hawk Moth and Natalie as Mayura to the public. They were promptly put in jail.

For all their contingency plans, Marinette and Damian had nothing to worry about after all. Adrien being a literal sunshine and Paris’ darling model was what saved him from being a pariah and outcast. The public knew that Adrien was the victim here and not part of Hawk Moth’s plans at all (Be serious. Can you imagine Sunshine child actually having an evil streak in him? No? That’s right. Because it is impossible). People were more sympathetic about Adrien having such a douchebag as a father than the possibility that he was evil like said douchebag.

After that whole drama mess, Ladybug and Chat Noir announced their retirement to Paris’ dismay. But eh. Without akumas running around, they can leave Paris’ future to the police (since it’s you know, their job to keep the peace and not teenagers who is still winging it as they kick ass).

Marinette and Adrien just wanted to focus on their future without any other crazy shenanigans.

He already said it before. But it still bears repeating.

Lila Rossi is a bitch.

The only thing Gabriel did right was throw her under the bus when he was caught. He told the police and superheroes how Lila helped him cause akumas with her lies and manipulation. Who knew her destroyed reputation could plummet even further? Understandably, her mother was not at all pleased with her daughter’s antics.

For being a terrorist and an indecent person, Lila was immediately arrested and deported to Italy (and that’s the last they ever heard of her thank everything Mari thinks is holy).

With the whole Hawkmoth thing out of the way and he didn’t have to worry about his shitty dad ever again, Adrien can now focus on his biggest challenge yet.

School will be over in a few days and summer will be here. Which means: It’s time to finally meet the Waynes.

Oh fuck. He was going to meet the Batfam.

And even though Dami assured him that his family will like him, he was still nervous.

Fuck that. He was absolutely 100% freaking out!

Thank goodness Mari was coming along for the ride.

Taglist:

@iglowinggemma28

#ml x dc #ml salt #ml salt fic #lila rossi salt #alya cesaire salt #bustier salt #gaydrien #adrien is a hot mess #adrien agreste x damian wayne #adridami #adrien deserves better #marinette deserves better #bamf marinette #a 3.7K fic people #crack writing

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pandoraimperatrix · 4 years ago

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Cockblocked by Batman’s son

BatCat | Humour/Romance | 1,4k

The fucker was on her for a while, and as much as their cat and bat game was fun, it was beginning to get in the middle of her business. There was this tiny small Brazilian island with her name on it, and unfortunately it was hard to steal whole islands than jewellery, so, of course, to steal some of the latter to get her island. She was calling it her retirement plan.

She was so close to her goal 12 million goal, only 10k to go, the job had been a god send, a rich collector had just acquired an Edwardian aquamarine and diamond brooch that have been on her client’s list for ages, thank goodness it was not her style at all, so she wouldn’t be tempted. It was easy enough, the security system was not what she expected from her research, but it had been fun to crack it, it was good to be surprised sometimes, she thought, kept her on her toes.

Her prize was already safely inside her bag, and Selina was ready to leave, when he appeared dark and broody, cape flowing behind him like a vampire on a silent era movie.

“Put it back.”

“Oh for Bastet’s sake!”

She ran, he went after her, and to be fair she was having fun taunting him, but there was something odd about that night, usually he gave her a little more of work, he seemed to be lagging. She even looked behind a few times to see if he was still following her, because there was nights in which would just leave to take care of an actual life threating crime. Selina thought that was the case and stopped to look, as much as the danger of him actually catching her and taking her prize back was not null, it almost felt like a let down when he’d just leave like that without a proper goodbye. He had no manners! Have no one taught him how to treat a lady?

Not that she was one.

She turned away and head back small rooftop apartment on East End, she had just entered her home, and pulled the cowl off her head when she felt a massive weight smash against her back throwing her on the floor. Fear struck her even harder, had the celling just fallen? She screamed for her cats to find safety before she managed to wiggle her body around enough to get an idea of the situation.

“What the actual fuck!”

The celling was intact and what was currently pressing her to the floor was the wall of meat known as the Batman.

“Put… it back.”

And then his eyes closed. She had never been close enough to notice before, but they were blue.

Read on AO3

It was embarrassing. She was tied up to a bomb. Heist gone wrong, well, it was good that he appeared since it was his fault that there was a heist at all. After leaving her flat while she napped after playing his personal Florence Nightingale all night, he repaid her by stealing her brooch!

Can you believe it?

The ingratitude?

The disrespect?

It was entirely his fault that she was obligated to break into that stupid warehouse to steal her new mark – an art deco diamond bracelet with an asscher cut, totally her style, she was already planning how to get it back, for free, of course. It was not her fault that the intel that got forgot to inform her that it was the same warehouse that had been used by Don Malone to hide drugs. And that when she broke in the place was no empty and Malone’s goons thought she was working for Falcone. Of course, no one believed her when she told them that she didn’t have anything to do with that.

You know, that’s why Selina had no trouble lying, because the truth hardly matters when someone wants to fuck you up, they will just do it for good measure, for fun, because sometimes you bloody deserve it for being the fool that nursed the fucking Batman back to health and were robbed by him.

But then, just as was she was about to accept that was how she’d meet her maker, a little leprechaun fell from the roof and said in a squeaky voice that she’d be okay.

“Geez, freaks are getting younger every day!”

Until Batman appeared and started defusing the bomb she thought she had already died and was having a very weird afterlife.

“He’s not a freak.”

“Oh… he’s with you!”

Maybe she was having a very weird afterlife. But why the hell her afterlife included the fucking Batman?

“He’s my… hmm… son.”

Wait, that was too weird for an afterlife.

“Your son? And his mother is okay with that? Jesus, isn’t he afraid of falling down?”

The boy had limbed a rope hanging from the roof and was hanging upside down by his pixie booted feet.

“He doesn’t have a mother,” Batman muttered as he still worked on her bomb, well, not hers. She owned no bombs, your honour. He was awfully talkative that night, that Batman. “Robin, behave!”

Oh my god, he was the leprechaun’s father! The information was just too good and at the same time she had no idea of what to do with it. It was the kind of prize she’d keep for herself.

“I’m behaving!” the high pitched boyish voice shouted back, but he did a flip and landed on the floor. She could say she was impressed. How old was that kid? Less than ten, she’d bet.

“Poor kitten, is she…”

“She died” he said so devoid of feeling that she raised an eyebrow. Of course Batman tended to be stoic, but, that was cold even for him.

“I’m sorry for your lost” she tried lamely.

He sighed. Batman actually sighed. What the hell was happening?

“I didn’t know her. He’s adopted.”

That night was one shocking revelation after another, wasn’t it?

“So… There isn’t a Mrs. Batman, then?”

What kind of lame line was that? Urgh. But was he… Nah. She was imagining it. He had not, in fact, sniffed her neck.

Of course, she couldn’t see, he was behind her, and although she could see Robin at the entrance very well because the light coming from outside reflected his little yellow cape as he amused himself by doing what looked like very dangerous acrobatics, where she was sitting, tied to a chair that was chained to a bomb, was completely dark. She could only hope he was really some sort of vampiric meta that could see in the dark otherwise letting him disarm the bomb was not the best of her decisions.

“It’s done.”

He released her. Selina rotated her wrists and stood up, relieved.

“Robin, let’s go!”

She watched as the boy let out a happy yelp and ran ahead, they could use that one as a limitless energy source and end climate change.

“Wait” she said walking around the chair to meet him in the dark “let me say thank you first, you just saved my life.”

“There’s no n-“

He couldn’t end the sentence when Selina blindly pressed her lips against his.

She meant to be a small playful peck, but Batman’s gloved hand slid to the small of her back, pulling her close and before she could think clearly about what she was doing, her arms were around his neck, hoisting her body up to fix their huge height difference issue. He parted her lips and slid his hot tongue against the roof of her mouth, the hard pointy part of his mask that protected his nose biting into her cheek.

“Ewww,” they broke the kiss to look at Robin’s small face wrinkled with disgust, but still remained in each other’s arms for a moment. And then, slowly, they turned their faces back forward.

Selina swallowed down, she still could taste him. And he was not letting her go, she had to be the one to pull her arms back, her hells touching the floor again.

She never thought she’d ever see Batman acting awkward but there was no other word to describe the way he grunted and stepped back before nodding to her and left, taking his little killjoy with him.

She stood there for a while.

She almost died.

She kissed the Batman.

Was cockblocked by Batman’s son.

Batman’s son??

What the fuck!

------------------------------

The rain made the power go out and I was looking through my WIPs. I really don’t remember writing this story lmao. But now It is finished and you can read it!

Please tell me what you think of it.

Kisses, see ya.

#batcat #brulina #baby batcat #gotham #selina kyle #bruce wayne #catwoman #batman #my fic #dick grayson #robin

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cherubcow · 4 years ago

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“Invincible”, Season 1 (2021) Review

Somehow both very cool and very fucking stupid :D

About Created and written primarily by Robert Kirkman (principle writer for The Walking Dead comic and TV show), this Young Adult cartoon basically synthesizes a number of comic book characters (e.g., Superman, Batman, Green Lantern, Hellboy, Wonder Woman, Gambit) and tries to balance their heroism with cynical twists and dark realities. It's an exercise like Brightburn (2019) in that it mirrors existing comic writing all too closely in order to make violent twists. The cool stuff arrives pretty much immediately. You can tell right away that the physics have some level of realism, and it quickly gets serious because of this. The easy comparison would be to The Boys (also by Amazon, also about violent heroes, and also very well-produced). So, if you like The Boys (2019–), you'll probably like Invincible only a little less.

(( Some spoilers but nothing too specific ))

Wrong Focus But, the stupid stuff comes from the same error that the Kick-Ass movie (2010) made: it focuses on the wrong person(s). In Kick-Ass, the error was focusing on.. well.. "Kick-Ass", an irredeemable loser and waste of screen time. Invincible makes the same mistake, focusing on.. well.. "Invincible", a (so far) irredeemable loser and waste of screen time. So, despite its virtues, this show cannot escape that it made the decision to go for the Young Adult viewing demographic. It reminds me of Alita: Battle Angel (2019) in that way too: some very cool adult concepts ruined by the dramatic devices of unrepentant teenage stupidity and irrelevance. I didn't even like that stuff when I was a teenager, though Jordan Catalano gets a pass.

Main Cast and Characters The supporting characters were also very stupid. The most annoying was definitely Amber Bennett (voiced by the otherwise cool Zazie Beetz from Deadpool 2 (2018) and Joker (2019)),

who is supposed to be attractive somehow to Mark Grayson ("Invincible", voiced by Steven Yeun, who played Glenn on The Walking Dead)

despite the fact that she constantly judges him, fails to understand him, often fails to give him any kind of benefit of the doubt, and continues to scowl at him and be hurtful towards him even when she has information that should change her outlook towards him. And because she is part of the love triangle shared between herself, Invincible/Mark, and "Atom Eve"/Samantha (voiced by the awesome Gillian Jacobs from Community (2009–2014)),

audiences simply have to bear with it that Amber's annoying character will be present and wasting time until Mark can realize that Amber is in fact toxic and that Eve actually understands him and can improve him in more positive directions. That love triangle should have been a 20-minute distraction, but I'm guessing that it will eat up a season or two more, especially if the writers become cowardly and fail to change things for fear of messing up a perceived "winning" formula. In my ideal story line, they would skip ahead 10 years, drop the teen drama, the love triangle, and the stupid jokes and have Invincible and Eve paired in defense of Earth, with the main tension being from their worry that the other would be horribly gored in front of them during lethal fights against cosmic enemies ;)

Aside, I am aware of Amber’s motivation for being a bad person, I just think her justification is not based in understanding, empathy, and a regard for the gravity of Invincible’s situation. In a strict political sense, Invincible should not commit a lie of omission by keeping her in the dark about his identity — even if for the “noble lie” reason of protecting her — but in a real sense, he is a fucking teenager who just developed his super powers. For her to pretend that he should reveal his entire identity to her — a potentially transformative and even dangerous decision — after a few months of teenage romance paints an absurd portrait of her mind. It does, however, align her with Omni-Man, because where Omni-Man forces Invincible to become an adult in the fighting sense (pushing with full force early on), Amber forces Invincible to become an emotional adult by getting him to understand that toxic people such as herself need to be given boundaries — and he needs to learn to clearly delineate and communicate his real desires. By knowing that he does not want Amber, people who regiment his free time, or people who do not suit him, for instance, he can realize why Eve was an obvious decision: Eve understands, can make time when they have time, and will let him find his decisions. Part of a coming-of-age story tends to be realizing what one actually wants, and Invincible’s hesitation in telling Amber his identity shows that he does not truly want her. This separates Invincible from, say, Spider-Man, who avoided telling Mary Jane his identity not because he did not want her but because he wanted at all costs to protect her.

The next most annoying character has to be Debbie Grayson (voiced by TV-cancer Sandra Oh and who luckily was not animated to look like the real Sandra Oh and who should have been voiced instead by Bobby Lee due to Lee's successful MadTV parody of Sandra Oh).

Debbie basically fills the role of Skyler in Breaking Bad, except that Debbie's character tends to be slightly more understanding before her inevitable and toxic Skyler-resentment and undermining behavior. Despite having an 8-episode arc of change, Debbie's character flips too quickly and lacks the empathy and Omni-Man motive-justifying that would make her interesting (the comic's development may vary). For instance, if she refused to believe that Omni-Man meant his own words, that would make her empathetic and perhaps virtuous even if misled, but instead she dropped their "20 years" of understanding after viewing Omni-Man in action, which makes her appear shallow, easily manipulated, and unsympathetic. That was a definite "Young Adult" genre move because it shows immaturity by the writers to break apart a bond of 20 years so quickly. Mediocre teens might accept such a fissure because their lives have not yet seen or may not comprehend that level of time, but adults know that even long-standing and problematic relationships (which, beyond the lie, Omni-Man's and Debbie's was not shown to be) take a lot of time to break — even with lies exposed.

Omni-Man The biggest show strength for me was of course Omni-Man, who in a success of casting was voiced by J.K. Simmons in a kind of reprisal of Simmons' role as Fletcher from Whiplash (2014).

The Fletcher/Omni-Man parallel shows through their being incredibly harsh but extremely disciplined and principled, forcing people to become beyond even their own ideal selves (this via Omni-Man's tough-love teaching of Invincible — comically, Omni-Man was actually psychologically easier on Invincible than Fletcher was on Whiplash's Andrew character). Despite the show's attempts to villainize Omni-Man, he, like Fletcher and also like Breaking Bad's Walter White, becomes progressively more awesome, eventually representing a Spartan will, an unconquerable drive, and a realistic and martial understanding of a hero's role.

To the show's credit, while it wrote Omni-Man to be outright genocidal and from a culture of eugenicists (again, Spartan), they could not help but admire him and his "violence" and "naked force" (for a Starship Troopers reference), giving him a path to redemption. That redemption comes in part because — despite the show's attempt to be often realistic and violent — its decision to be directed at young adults via dumb jokes, petty relationship drama, the characters’ reckless lack of anonymity and security in their neighborhood (loudly taking off and landing right at the doorstep), and light indy music also made the portrayed violence far less literal. With a less literal violence, the real statement becomes not that Omni-Man really did kill so many people (though he certainly did kill those people within the show's plot) but that he was symbolically capable of terrible violence but could be reformed for good. That's the shortcoming with putting violence under demographic limitations. If it's a PG-13 Godzilla knocking down cities, the deaths in the many fallen skyscrapers don't matter so much (the audience will even forgive Godzilla for mass death if it happens mostly in removed spectacle), whereas if it's Cormac McCarthy envisioning a very realistic fiction, every death rides the edge of true trauma.

By showing light between the real and the symbolic, it is much easier to identify and agree with Omni-Man. For instance, when Robot (voiced by Zachary Quinto of Heroes and the newer Star Trek movies)

shows too much empathy for the revealed weakness of "Monster Girl" (voiced by Grey Griffin), the audience may have thought, "Pathetic," even before Omni-Man himself said it. And this because Omni-Man knows that true and powerful enemies (including himself) will not hesitate to use ultra-violence against these avenues of weakness. "Invincible" can make his Spider-Man quips while in lethal battles, but he does so while riding the edge of death — something that Omni-Man has to teach Invincible by riding him to the brink of his own.

Other Cast/Characters and Amazon's Hidden Budget It was impressive how many big-name actors were thrown into this — a true hemorrhage of producer funding. Amazon has so far hidden the budget numbers, perhaps because they don't want people to know that the show (like many of its shows) represents a kind of loss-leader to jump-start its entertainment brand.

Aside from those already mentioned, the show borrows a number of actors from The Walking Dead (WD), including.. • Chad L. Coleman ("Martian Man"; "Tyreese" on WD),

• Khary Payton ("Black Samson"; "Ezekiel" on WD),

• Ross Marquand (several characters; "Aaron" on WD)

• Lauren Cohan ("War Woman"; "Maggie" on WD)

• Michael Cudlitz ("Red Rush"; "Abraham" on WD)

• Lennie James ("Darkwing"; "Morgan" on WD)

• Sonequa Martin-Green ("Green Ghost"; "Sasha" on WD)

There were also connections to Rick and Morty and Community, not just with Gillian Jacobs but also with... • Justin Roiland ("Doug Cheston"), who voices both Rick and Morty in Rick and Morty,

• Jason Mantzoukas ("Rex"),

• Walton Goggins ("Cecil"),

• Chris Diamantopoulos (several characters),

• Clancy Brown ("Damien Darkblood"),

• Kevin Michael Richardson ("Mauler Twins"), and

• Ryan Ridley (writing)

That's a lot of overlap. They even had Michael Dorn from Star Trek: TNG (1987–1994) (there he played Worf) and Reginald VelJohnson from Family Matters (1989–1998) and Die Hard (1988), and even Mark Hamill. Pretty much everyone in the voice cast was significant and known. Maybe Amazon got a discount for COVID since the actors could all do voice-work from home? ;)

Overall Bad that it was for the Young Adult target demo but good for the infrequent adult themes and ultra-violence. Very high production value and a good watch for those who like dark superhero stories. I have heard that the comic gets progressively darker, which fits for Robert Kirkman, so it will likely be worth keeping up with this show.

#invincible #tv review #robert kirkman #invincible tv series #invincible tv show

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kdramachitchat · 4 years ago

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The Devil Judge - The Finale

A dystopian law drama w/a good concept that ended up underwhelming due to terrible writing. The star studded cast made up that fault with the likes of Ji Sung and Park Jinyoung.

Min and Jung has a previous conversation about the live show court trial. They team up so that they could stop this madness with the Supreme Court and with the SRF Foundation. Jung request that Min should keep an eye on someone and that someone is Ga-On. He requested Ga-On during their early meetings to be the Judas for Yo-Han. Min hated Yo-Han for ruining the country so he wanted to attack him by revealing his family affairs. He wants to drag Yo-Han down. He affirmed it when he was at the hospital and Jung visited. But Min didnt know how crazy Jung was and killed Soohyun. He said that Soohyun is like a daughter to him. Min said didnt he want to stop Yohan at all cost, that includes Soohyun too. Jung said that there's no going back now and they're close to ending the chaos, and questions if he wants to be remembered.

Min needed to become a monster to stop Yohan. Gaon then calls him a dirty hypocript and Min calls the security. Gaon is in pain that he just let Soohyun die just like that. Gaon was taken away by the security. Gaon tells Jinjoo that the foundation has set this all up and she wants to help.

The SRF team congratulates Jung for having Min to their side and Heo is in silence waiting for her instructions. He's literally her dog. They then talk about Yohan's mental mind now that he's in prison, he's out of his game. If he disappears quietly, they assume that everyone would be happy. Jung thinks otherwise, if he continues to say things she threatens him to step down. The SRF team continues to praise Jung. Jung discussses with her righthand woman on how Heo changed his personality completely and finds it fishy. She probably underestimated him and there's something else. She then request to check the status of the moving of the residence to the Dream Village.

Chief Ward meets Yohan to have discussiona t the office. Yohan disrespects the Chief but the Chief warns him that this is not a live court show and that he's in prison.

Lawyer Ko talks to Gaon and how much of an idiot he is. He doesnt know if he can continue to trust Gaon with what he's done. Gaon is asking for help. Gaon wants to go expose the Dream Village and plans to go alone. Lawyer Ko warns him that there's tone of security but he can go to the Medical Center, but no way he can exit out. Gaon says just let him in. Also warns him that the media is on their eggshells and it's not anymore a free media. Gaon though has come up for something and request to get him 1 thing.

Gaon explains to Elijah in a letter that she didnt do anything wrong and promises that Yohan will return and that it wouldnt take long. He tells her to eat well to not get sick so that Yohan wouldnt worry. She then cries and eats her food to recover.

At the prison, Yohan and Juk breaks out a fight at the courtyard.

Gaon then enters through the Dream village by using the food truck inside a box. He then observes the restricted area and records using a small video device. He sees alot of people lying down sick surrounded by nurses and guards. He goes through the wards and surprisingly sees Ms. Han, the woman who sided with Yohan during the live courtshow. All of a sudden the President arrives at the facility. Theyre testing a new vaccine and the number of people that survived is 182. President requests about the behind payments of all the countries. Clinical trials are in high demand. President tells them when a person dies through the trials they collect all the well organs and export them as byproducts. Nothing goes to waste. Gaon silently watches them laugh maniaclly in disgust. The SRF and Heo talks about Jung behind her back, they plan to outs her. Gaon plans to escape with Han but was got caught with a nurse but saves himself that he's checking her vitals. The nurse recognizes him and actually helps him. She has been waiting for some help and said that their phones have been taken away. Also said that there's some sane people in the center too. She promises to help.

Breaking news that Yohan has been arrested for instigating murder is dead. He was stabbed by a assailant. Both co-judges are left in shock. Same goes to Jung. She's in shock but calms herself that it was done because of her. Jung will be President and Min would now be Chief Justice. He did a press conference instead of a inauguration. Oh was able to catch up with Min and tells him that Jung wants to meet him at her office, this is a set up. Gaon tells her to leave the building and requests her to go. SRF team celebrates at the live court set with Jung at the top of the judges seats. Gaon then captures Min and ties him up at the office with a bomb around his body. Since when did Gaon become so violent. Its a plant and the media will receive news about exposing the Dream Village with his name on it. Yohan suddenly appears and saves Gaon on time. The death news was fake and that Yohan had to dig out to save him. He reminded me of Batman at some point here. Yohan was able to get out by threatening the Chief with his corruption and crimes for the last 30 years. Mentions the Chief that the money is not with him anymore. Yohan tells him to save himself is by doing his specialty for swapping prisoners. Just give him 24 hours. Lawyer Ko enters and tells him that he couldnt tell Gaon everything. Yohan tells him that he was able to return the Chief a favor but not in the form of cash but through charity.

While the SRF is celebrating the lights and the screen suddenly went on with Yohan on the screen. Jung realizes that he is alive and so does the rest of the team. Its revealed as a solemn trial. Yohan starts a live trial and its the final trial with the entire SRF team being exposed with the Dream Home Medical Center. Looks like Jung doesnt know anything about it and asks the team about it. Even the conversation Heo had with the team regarding the citizens. They also show that Jung has killed innocent people in the way to fulfill her ambitions and to attack him. Min is attacked too as a betrayer. Min is let go by Gaon but tells him that his name is tarnished forever and he will live awfully for the rest of his life. That's a better punishment and more realistically given too.

There was a proper punishment given and Yohan announced that there's a bomb then leaves to go to the trial set. Yohan reveals that Gaon was the one who helped exposed and will testify to tell the whole truth. The bomb is planned and Yohan will sacrifice himself along with the foundation. Yohan asks them if the moment reminds them of the fire incident. All of them trying to escape. Only the fastest person survives. Jung calmly comes up from her seat with a gun on her hand. Heo complains that he is the President and Jung shots him due to annoyance. She also tries and aims the gun at Yohan. Yohan tells her that its the both of them till the end. Tells her to come with him till death. That's the only way she'll be with him, which is quite tragic. Jung says her final goodbye to Yohan and shockingly shots herself to death, like how Ms. Cha did. Gaon then appears at the end, tells Yohan to stop and think of Elijah. Gaon in the end will be the hero and Yohan pushes him out. Will Yohan survive the bomb explosion? He needs to be alive or Gaon will end up with nothing. Well he still has Judge Oh and Elijah at least. Gaon wents back to the mansion and ses the blueprint of the bomb explosion, there has to be a escape route for Yohan. Yohan tells him that Gaon must do something for him. Housekeeper tells Gaon that Yohan stopped by and tells her she's fired and asks for Elijah. Yohan tells Elijah that they're going to move out to somewhere safe and its a rehabilitation center in Switzerland. Gaon then finds out that Yohan is actually alive.

Gaon was set in a trial with the comittee. Gaon inwardly thinks that nothing has changed at all and is confused on what to do now that the country doesn't need Yohan. Yohan secretly bids goodbye to Gaon and he then quickly realizes it. Captures him on time from afar. The 2 men bid each other goodbye which then ends the drama.

Thoughts: If you like stories like Batman or The Hunger Games this would be the drama for you. The writer seem to took inspiration from both works. I think Yohan is like Batman/Katniss while Gaon is like Peeta. Oddly reminds me of the finale alot with the similarities of the characters. Or sometimes Gaon acts like Katniss/Peeta both. Just remove the whole romance aspect of The Hunger Games. There's quite a few angst moments of Yohan and Gaon. Gaon all of a sudden cares for Yohan. The writer tries to include those similiarities with the 2 characters. Yohan wants nothing more than revenge. Then the rest of the SRF are like the trial players or could be the government too. They try to copy the brutality of the hunger games the games itself with the fire incident and the finale of the drama. All trying to save themselves from death.

Messed up the ending. What I wanted most from this drama was for people to rise up to protect their country, because its the job of people to protect their country not the job of one or two people like Yohan and Ga On. Also they didn't even show the aftermath of the last trial. What happened to that dream house project and what was the people's reaction about the live trial? Assuming the whole time it was filmed. What did they think of Yohan after that? Alot of afterthought was left out.

Rating: Story: 3 (Great until episode 12 onwards) Production: 2 (Locations and the offices were ok but not meant for the dystopian feel they were trying to sell. Could've been more modern looking set) OST: 1 (BGM is spot on and fills the scenes well, dont like the rock portion of the OST) Acting: 4 (Mainly because of Ji Sung) Character Development: .5 (Main cast are 1 sided and no room or little improvement) Overall Enjoyment: 1 (The drama's tone is consistent throughout despite the bad writing) Total Rating: 2.5/6

#2021 #The Devil Judge

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caloroso-cosmos · 4 years ago

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unique self ship questions for unique words- endive, limerance, foofaraw, & serendipity ~ rebeccaselfships

Thank you for sending the ask and I’m sorry about the delay in answering 😅

I’ve answered endive and limerance in another ask so I’ve copy and pasted the responses here, I hope it’s alright with you!

Endive - if, under the circumstance, you were able to treat your f/o to a single, beautiful day without a budget, what would it consist of?

✩ I think it would be something quite simple, not extravagant because I think that’s what Jonathan would prefer. We would fly to a city that we’ve never been to before (imagining that there’s no covid) early in the morning. After arriving at our destination, we would have breakfast at a cozy cafe while chatting with each other and just enjoy each other’s company ✨ After breakfast, we would take a walk, perhaps in a park, and just explore the city by walking around. In the afternoon, we would visit the library, because Jonathan loves reading and enjoys visiting different libraries to see what they are like. A museum of some kind is on the cards next, because he likes to expand his knowledge whenever possible so the day wouldn’t be a treat without some way of meeting this need of his （＾－＾）The day would conclude with a visit to an observatory/planetarium to star gaze ✧･ﾟ: *✧･ﾟ:

Limerance - gush about your f/o, no limits… but the catch is, gush as if it’s a message directly to your f/o.

✩ A love letter to Jonathan Crane:

Dear Jonathan,

Where shall I begin…I have never written nor received a love letter and have no idea how one would go about starting. Not to mention, all thoughts of logic or writing structure departed from me the moment I sat down to write this letter so I apologize if it ends up being rather chaotic.

Tchaikovsky’s Valse Sentimentale is playing in the background as I write. As the name states, it is a waltz and I cannot help but wonder what it would be like to waltz in your arms. How warm and gentle your touch would be, how wonderful it would be in your presence, and how, despite the lack of an uttered word, you would make me feel loved and connected with you. I hope you will allow me to indulge in this fantasy one day, although I must warn you that I am not a dancer, nor will my movements be particularly nimble, I suspect.

Remembering back to when we first met, you were looking out the balcony door and rain was falling outside. You turned to look at me and you saw, in my eyes, my uncertainty about being there, and the doubtful possibility of being with you romantically. Even then, you put me at ease without the need for words. You understood my uncertainty but you were still there for me regardless. It must have been at least a couple of weeks, if not several, that we spent time in that small space. We didn’t talk, to begin with, but over time we opened up to each other by talking about our days or what was on our minds. I loved this period even though it seemed like not much happened at all. I loved how you never once judged me for being uncertain, your patience when I did not appear, your ability to put me at ease, your understanding of my need for space and time. All of this, even when it was not apparent whether we would end up together or not. I appreciate how you never attempted to make me come to a hasty decision.

Occasionally, my mood took on a turbulent shade, and I would close myself off from you, which was intended as some kind of indication to you that I can be a troublesome person and you should take leave so as not to trouble yourself with this kind of nonsense. But you stayed. You comforted me when it was apparent that it was what I needed, you let me have my own space when it was necessary. When usually, people would attempt to persuade me out of my moods, you let me experience them without judgment or persuasion. I loved this about you. You have been so kind, patient, and understanding to me. Honestly, I think I don’t deserve you or our universe.

We haven’t spent time with each other properly for the past couple of weeks and I really miss you. I miss our conversations, your embrace and kisses, and just you really. I love how we could enjoy each other’s presence without talking like when we read together in the same room. I love the way you look at me, your gaze expressing love, support, and warmth. And that sparkle in your eyes when talking about something you’re passionate about, be it your work, a book you’ve been reading, some new development in your research. I think you are gorgeous, truly, not just in terms of physical appearance, but your personality, your being. That intense look in your eyes when you are concentrating on something, the way you hold your pen when writing, the self-assured yet unassuming way you stand, the calming composure you have, the way you radiate energy when you are excited about something, and so on. Even though we haven’t spent time together properly in the last couple of weeks, whenever I think about you, I feel giddy like a child on Christmas morning, I cannot explain why. All I know is, you make me feel happy and just the thought of you gets me through whatever challenges that I have come my way. Although you never tried to change me in any way, nor to persuade me to do one thing or another, you’ve brought about positive changes in my life outside of our universe. For instance, when I felt unable to get up in the mornings, you would whisper to me that everything would be all right, that I can do whatever my mind has tricked me into thinking I can’t do, and that you would be there whenever I need you. Your words, softly spoken, gave me the energy to begin my days. And you inspired me to do the things I wanted to try/do but didn’t because I had been too afraid to stray from “the norm”, whatever that was.

Please forgive me for this poorly written love letter. I want you to know that I love you even when I am not with you. I hope to be in your presence again very soon.

Your ever-loving,

Autumn

Foofaraw - do your chosen aesthetics line up well with your f/os? meaning, if the two of you were to say, decorate a home, would your chosen styles clash or compliment each other?

✩ Yes, I think our aesthetics are quite similar so our chosen styles complement each other. My chosen aesthetic is dark academia and I think it’s the same/similar for Jonathan ( ^ ᴗ ^ )

Serendipity - how did you first discover your f/o, or your f/os source material? how did you feel when you first saw your f/o in your source material?

✩ I remember watching Batman Begins earlier this year because it was playing on TV. When I saw Jonathan at the time, I didn’t really feel anything - it was like “oh that’s a character, just like any other”; I didn’t pay any particular attention to him. Although, I do remember someone who was watching it with me at the time, making a snarky comment on his composure in intense situations. Some weeks later, Jonathan appeared in my dream one night, that’s when I took notice. (It was a nightmare actually and his role in it was quite unpleasant, makes one wonder how he ended up being my romantic f/o, doesn't it? 😂)

Tagging @the-royal-niffler - you might be interested. You might want to skip to the last two questions (Foofaraw & Serendipity) as I've tagged you in a previous post that included responses to Endive and Limerance already 😊

#unique self ship questions for unique words #thank you for sending in the ask #jonathan crane #nolanverse #self ship community #self shipping #f/o community #romantic f/o #a love letter to jonathan crane #any advice on how to write love letters would be appreciated #sorry I'm not so good at gushing #Tchaikovsky's Valse Sentimentale #dark academia #batman begins #how did Jonathan Crane end up being my romantic f/o despite appearing in one of my nightmares

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curlymantis · 4 years ago

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aaaa pls tell me stuff abt your ocs they're all so cool!! 🥺💚

Omg I finally finished answering this!!!!! 👀👀

Farcry 5: Zoë Seed!!

Omg that’s me 😏 she was an entomologist checking out the cool insects of Hope county and unfortunately for her she doesn’t believe in private property when it comes to discovering nature. One day chosen find her trespassing on John seeds property. They think she’s a spy for the resistance as she has a camera, binoculars etc. They take her to the main church (conveniently was a Sunday) once service is over shes handed over to the father and himself and John go through her camera. They only find insect pictures and omg wow she’s not a spy. She’s indoctrinated into the cult and ends up eventually becoming John’s right hand of god 😌🙏 sinners who happen to be an extra annoyance go to her where she makes them confess in whatever way possible. Or they die in the process, whoops 💅🏻 She’s polyamorous with all of the seed siblings including Faith cos like come on now let’s be real they all crave and need loving. However she’s married to John Seed because that baby boy is everything 😤❤️ She also likes to do cult posters and help write songs and sing them cos it’s fun as hell. She is closest with John and Faith Seed specifically out of the 4 Seeds. Other cultists are scared of her, or is it respect? Hmm who knows 😌 She also tortures sinners for fun and chases them around the forest making them as shit scared as possible. Oops 😏

The Magnus Archives: is my oc who is an Avatar of the eye and Rayn Porter is my oc who a avatar of the corruption. They both have the same last name as they are both the same person just if they had gone down different entity routes in their life. I’ll talk about Rose first! (I also have an avatar of the flesh and the vast but I haven’t worked on them yet or got them ‘fully fleshed out’ 😏

Rose Porter: avatar of the Eye, marked by the stranger, the spiral and the vast.

From an early age Rose always felt the need to watch people, to know, to understand. As she got older these feelings only became stronger and she begins to stalk people, not because she finds that person special for any particular reason they just happened to look to long at her and she saw them doing so. That just sets something off In her so now they must be followed, acknowledged, understood and scrutinised (me self projecting right into my ocs 😌). She found the Magnus institute one day as she started stalking Rosie. when she had seen the woman walking into a large glorious building she knew something was off, like the itching feeling you get, the feeling in your gut, the sensation of something important. She did not know what had over come her to walk in the building so quickly as that would ruin her chances of learning further about this person who dared make her feel so uncomfortable. But there she was. She was hired immediately of course as a librarian, then moving on the be an archival assistant, shocking to her. But obviously not to Elias Bouchard who knew just how useful her alignment to his almighty beholder. To say she had a crush on him would be an understatement. She can’t explain it. Some would call infatuation, some would call it chemistry, but smart ones say it’s because they are both devotees to the eye and she is in so much deeper than she has ever anticipated or even realises 👀

Rayn Porter: avatar of the corruption, marked by the flesh, the lonely and the stranger.

Rayn despises people (same queen 🙄) they put animals on a higher level of respect than humans. The corruption took ahold of them as a young child, they would always follow and play with cockroaches as a child. However their mother was to say the least an unempathetic, transphobic and cruel woman to say the least. Rayn was raised in a household full of scrutiny, hate and fear. Because of this had very little friends as the only social interaction they knew was their bitch ass mother they turned to the ‘pests’ of their home. Whether these were the slugs and snails in the basement of their home, or they were the cockroaches, house centipedes and rats that dwelled in their attic. They loved and appreciated them all, but their was still something deeper to it. A deep rot had started to form in Rayn and they hated their mother and family. They hated them for how they had cast them aside for not being female, they hated them for all the mistreatment they had faced as a child. The rot started small, a odd old smell that started to lurk around Rayn. Eventually others would notice the smell but would shrug it off as the smell would soon be covered by the smell of Rayns chain smoking. Then one day Rayn was staring in mirror poking at their face and squeezing. They found a sore on her face and squeezed it, pus comes out but something moves underneath. They squeeze harder and something wriggles forth, it’s a very small, juvenile cockroach, streaked slightly in something slimey. As you can imagine that fucked them up a bit, but they learnt to embrace it. Learnt to love that crawling away just underneath their skin are thousands of little legs connected to cockroach’s of many sizes. Sometimes if not managed roaches will find themselves sneaking out of nostrils, mouth and ears. Sometimes even out from behind her eyes. One way they feed the corruption is they set forth the filth at a selected location. All it takes is for them to place a cockroach down in a building and within a week there will be a infestation so strong causing the people in said building to be taken down with it. The Cockroaches will feed on those that they can over power and The Corruption always needs feeding... (Also just want to add cockroaches themselves aren’t actually dirty, they’re actually obsessive cleaners. the locations they live in are dirty)

Telltale Batman- Roz Traegers:

first encounter with John Doe (the eventually to be known Joker) was at the bar he frequented. They had never once seen him drink a drop of alcohol. He would order beer constantly for his alcoholic sure but never consume it himself. Aside from his alabaster white skin nothing about him seemed out of the ordinary to them. Well except the fact he liked to stare, a lot. You would constantly worry it’s because he was just judging you based on your appearance (a lot of people do) however John just likes to stare at people and found you interesting for some reason (cliches I know, but me and John Doe are basically the same person and I like to think he’d think I’m interesting). Roz has a great dislike towards the people John works with, they don’t appreciate how badly they treat him. Especially Harley. John is so obsessed with Harley and she treats him like absolute shit. Roz had a plan to get Harley arrested, however John found out and threatened to never speak to Roz again. Roz has a soft spot for Mr Freeze specifically from the gang also.

Vampyr: Rose Pine

works as an assistant to Camellia at the florist. Rose isn’t a very chatty person and has had quite a traumatic up bringing. Her mother, sister and father are all unfortunately deceased. Her father killed her mother, then sister, then Rose, then turned the knife on himself. Rose survived her injuries (hence the scar on her throat) and was put out into the adoption system. Roses father believed he had been doing his family a service by taking their lives before they could be claimed by Ekons. Roses father had been a vampire believer long before they had even breeched the city. Rose always waves hello to Jonathan Reid when she sees him galavanting around. He always waves back and occasionally they will exchange a conversation. One evening they exchange more than just brief chit chat when Jonathan is required to save her from a group of feral Skals. Rose is very badly injured from her encounter and Jonathan ends up having to change the sweet little florist he sees most evenings into a Ekon. Rose is also good friends with Charlotte Ashbury and Charlottes mother Elisabeth. I haven’t played Vampyr in a wee while, I want to get back into it soon so plan on adding more to her story.

Outlast: Rosie Porter

Rosie worked as a live in psychiatrist for those at mount massive asylum. She lives on the premises that way patient can be attended to at any time. Her experiences throughout life gives her empathy for those that are locked up, that the other guards and majority of other staff just don’t have. Rosie has always been able to empathise with those who would be considered ‘evil’ whether she empathised out of her own sick fascination or because of her heart hurting too much is another question. Rosies favourite patients are Eddie Gluskin and Chris Walker. She was hired after Jeremy Blaire forcibly admitted Chris Walker. Rosie is enamoured with Eddie and he knows it. Knows he has his little psychologist wrapped around his finger. However Eddie would be a hypocrite if he said he also wasn’t wrapped around her finger. Rosie is forcibly committed to the asylum by Jeremy Blaire they start Project Walrider on the patients. Rosie was against it and threatened to blow the whistle on the whole thing (dumb idea) and Jeremy uses her as the first female Walrider test subject. Rosie has engaged in an affair with her boss Jeremy Blaire when she first started working there. Due to their past ‘hands on’ relationship, Rosie is allowed more time with her patients and allowed to be alone with her patients. This has allowed for her to further her work with her patients, as they’re quite open when the know they aren’t being openly judged by the security staff.

Hannibal: Jessi Trees

is a forensic entomologist who works alongside Beverly, Jimmy and Brian analysing dead people n shit. Jessi first met Will Graham on the scene of a crime when they had both been called out. It was the mushroom killer from memory as the soil was packed with invertebrates filled with evidence. Will has just finished doing his whole ‘this is my design’ when Jessi walks up to him and stands quietly beside him, where they say: “These fuckers are filled with worms and I don’t know shit about worms” Will Graham turns and looks at them like what the fuck? Those are dead people. Jessi merely shrugs, smirks and walks off. Jessi can be described by a lot of people as ‘a cold person’ or ‘indifferent’ but passionate. They dehumanise the corpses they’re working with at that’s the only way they can get justice for them. If they get too caught up in all the sadness of it, they can’t move forward from it. Jessi has a crush on Will Graham and Beverly Katz. Jessi questions Will and Hannibals relationship quietly from the background but never really comments.

Bonus character!! Stardew Valley: Zoë

This bad ass came all the way from Zuzu city in need of a better and different life. They inherit their grandfathers old farm and get it up and running. The town is filled with wonderful, amazing people. But of course Zoë has to want to become close friends with the person who hates me everyone: Shane (they’re kindred spirits, Shane isn’t aware of this however because he seems to think he’s the only person who can suffer from substance abuse and sever depression haha.) Shane hates them of course until they keep harassing him and he reasilizes she’s a lot more screwed up than he was aware. Zoë is close friends with Shane (ends up marrying him one day), Linus (I would fucking die for him and anyone who’s cruel to him gets my foot in the butthole), Leah (they hang out frequently and like to paint in the forest together), Emily (I have a massive crush on Emily haha, she’s so similar to me it’s great), is also friends with Sam’s dad and Jodis husband Kent (Kent suffers from PTSD and I’ve developed a lot of my own techniques to help with my own PTSD so we help each other out. Also Jodi I’m stealing your husband, just kidding, unless). Zoë’s favourite animals on her farm are her blue chickens (raised by Shane) and her horse Aaron. Zoë’s favourite yearly event is the moonlight jellies festival!

#farcry 5 #the Magnus archives #telltale Batman #Vampyr #Hannibal #outlast #stardewvalley #stardew #own character

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maxwell-grant · 4 years ago

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So that ask about a Doc Savage/The Shadow crossover (which as an aside, I agree that Doc is probably the worst of the archetype he is functionally the Ur-Example of that isn’t an intentional deconstruction focusing on his worst eugenicist/borderline-fascist aspects to create a villain) has me thinking: what exactly would be the boundaries for a good, well-written crossover between the Shadow and different genres or eras of what we all collectively call pulp? Could someone do a crossover between the Shadow and Indiana Jones that didn’t rely on one or the other being little more than a glorified cameo in a small portion of what was essentially the other’s story, or reducing the former to his lamest two-dimensional “gun-toting homicidal maniac” interpretations? Could the Shadow ever functionally exist in a universe shared with a space opera setting like the Lensman series? It seems like one could theoretically do a crossover between the Shadow and a character of the same era like Nero Wolfe or Sam Spade, but would it strain credulity to attempt it with characters from an updated form of the private detective archetype like Thomas Magnum’s Hawaiian noir or Rick Deckard’s cyberpunk dystopia? Obviously not expecting answers to each of these hypotheticals specifically, just as examples of the kind of thing I’m wondering now.

I will be going through some of your hypotheticals though, you clearly gave a lot of thought to this and it's only fair I respond in turn. I am always eager to respond anyone who wants to ask specifics about writing The Shadow, because much of what I strive to do through this blog is to just inform people about the many, many things that made The Shadow great, the things that have been neglected, and to provide paths anyone who wishes to write the character may take. I'm not sure if I'll ever be able to write The Shadow someday, but the least I can do is spread knowledge as I work my way there. I'd like to think I've done allright so far.

It's a fairly big question though so we're gonna through it by pieces...

...not THAT way

what exactly would be the boundaries for a good, well-written crossover between the Shadow and different genres or eras of what we all collectively call pulp?

Part of the reason why I did a post yesterday on The Shadow's influences is because looking at them, looking at a character's influences and history, I think are always essential to the prospect of tackling them. And in that regard, The Shadow doesn't actually have much, if any, boundaries stopping him from crossing over with just about anything. The most that's stopping the pulp heroes currently is, besides legal issues, their time periods and obscurity, but The Shadow is the most famous of them all, and a lot of stories have already worked with the idea that he's immortal (which I have my misgivings with, but for better or worse is clearly not going anywhere, and it's not a unworkable concept).

Right from the start, The Shadow was designed to be a long-running, versatile character that could partake in whatever adventures they felt like telling, and part of this is due not just to an incredibly strong personality not afforded to most pulp heroes or characters in general, even those who tried imitating him, but also the fact that he often takes a narrative backseat to the agents and proxy heroes, which means he doesn't have to carry a narrative by his own (and is in fact best suited not to), can blend in to just about anyone's story, and still stand out and be the center of sprawling mysteries. Actually, I'm gonna let Walter Gibson answer this one for you:

While his major missions were to stamp out mobs or smash spy rings, he often tabled such routines in order to find a missing heir, uncover buried treasure, banish a ghost from a haunted house or oust a dictator from a mythical republic.

There was no limitation to the story themes as long as they came within the standards of credibility--which proved easy, since The Shadow was such an incredible character in his own right that almost anything he encountered was accepted by his ardent followers.

Widespread surveys taken while the magazine was appearing monthly showed that a large majority of newsstands sold nearly all their copies within the first two weeks of issue. While other character magazines might show an early flurry, their sales were either spread evenly over the entire period or gained their impetus about the middle of the mouth and sometimes not until the third or even the fourth week.

From the writing standpoint, this made it advisable to adhere more closely to the Cranston guise and to emphasize the parts played by The Shadow's well-established agents, since regular readers evidently liked them. Also, it meant "keeping ahead" of those regulars, with new surprises, double twists in "whodunit" plots, and most exacting of all a succession of villains who necessarily grew mightier and more monstrous as The Shadow disposed of their predecessors.

Always, his traits and purposes were defined through the observations and reactions of persons with whom he came in contact, which meant that the reader formed his opinion from theirs.

This gave The Shadow a marked advantage over mystery characters forced to maintain fixed patterns and made it easy to write about him. There was never need for lengthy debate regarding what The Shadow should do next, or what course he should follow to keep in character. He could meet any exigency on the spur of the moment, and if he suddenly acted in a manner opposed to his usual custom, it could always be explained later.

The Shadow’s very versatility opened a vast vista of story prospects from the start of the series onward. In the earlier stories, he was described as a “phantom,” an “avenger,”, and a “superman,” so he could play any such parts and still be quite in character. In fact, all three of those terms were borrowed by other writers to serve as titles for other characters.

Almost any situation involving crime could be adapted to The Shadow’s purposes

The final rule was this: put The Shadow anywhere, in any locale, among friends or associates, even in a place of absolute security, and almost immediately crime, menace or mystery would begin to swirl about him, either threatening him personally or gathering him in its vortex to carry him off to fields where antagonists awaited.

That was his forte throughout all his adventures. Always, his escapes were worked out beforehand, so that they would never exceed the bounds of plausibility when detailed in narrative form. And that was the great secret of The Shadow.”

In some regards, The Shadow is a mirror. He presents himself to people the way that's best suited to them, the way they'd like him to be, the way he needs to be to affect them. They want money, he has it. They want honor, glory and purpose, he gives them that. They want to fight and turn around social systems for the better, he funds their dreams. Gangsters want the underworld's greatest hitman on their side, he becomes that and lets it be their doom. The story calls for a rich aristocrat who can rub elbows with politicians and kings and presidents, he can do that as long as it suits him. Kent Allard can be a world famous celebrity in one story and a disfigured, broke and faceless nobody in the next. You want a kind janitor with unexpected fighting skill to spy on police and assist the homeless, he has a little someone named Fritz for the occasion. You want an evil monster to be defeated, bring out Ying Ko. Hell, James Patterson's upcoming Shadow novel, which by all reviews seems to be pretty lousy, apparently features The Shadow transforming into a cat. Why? Screw you, that's why! But you'd never see James Bond or Batman spontaneously transforming into a cat without outside interference. He's The Shadow, he's got a face for everything.

(Okay to be clear I don't actually want the Shadow to literally transform into animals, at least not without a good explanation which the book clearly doesn't provide, but I do think it illustrates my point about how generally weird he is)

He is a shapeshifter who can be just about any character in any given narrative who only reveals himself when it's time to materialize into a cloaked terror or a familiar face (whether it's Cranston or Allard or Arnaud and so on). War stories, romance stories, sci-fi stories, globetrotting stories, parody stories, he's done all of them and then some. He doesn't need to be the protagonist of a story, he doesn't need to be invincible, and he doesn't really have any set rules regarding powerset. Gibson stressed credibility a lot, but for over 70 years now, that's clearly gone by the window of the character's writing. By design, he was always meant to be able to smoothly integrate into any existing narrative. Frankly, the only thing that's really holding him back (or saving him, depending on how you look at it) is the fact that he's not public domain (yet).

I think for a start, it's not so much boundaries, because in make believe land boundaries are just things to be overcome on the way to telling a story, so much as it's a good working knowledge of the character and of how far you are willing to stretch your storytelling limitations to include him, because he can account for just about all of them. Now, obviously there's stuff that works for the character better than others, a lot of Shadow fans don't like it when they take the character too much into fantasy, there's debates on how superpowered should he be if at all, and so forth. I have my own preferences, but one of the bigger tests of long-running characters is how can they succeed and thrive when placed outside of their element, and The Shadow can do that.

Could someone do a crossover between the Shadow and Indiana Jones that didn’t rely on one or the other being little more than a glorified cameo in a small portion of what was essentially the other’s story, or reducing the former to his lamest two-dimensional “gun-toting homicidal maniac” interpretations?

would it strain credulity to attempt it with characters from an updated form of the private detective archetype like Thomas Magnum’s Hawaiian noir

Well regarding the first question, the latter portion I think is very easy to do. Just, don't write him like that. Just be aware of why that's a mischaracterization, why the character doesn't need that to work, why he works better without it, and so on. It shouldn't be that hard.

Regarding Indiana Jones and Thomas Magnum, I think these two actually lend themselves very easily to crossovers with The Shadow. On Indy's case, he already is a Pulp Hero operating in the same time period, who's got a heavily contrasting niche and personality to build a fun dynamic around. Indy is more story-driven, in the sense that the Indiana Jones moves are all centered around his experiences and point of view and growth as a person, compared to The Shadow's stories, which are not really about "his" story as much as they are about the stories of the people he comes in contact with. Indy is a blockbuster superstar while The Shadow lurks and slithers through the edges and cracks of a story until it's time to strike. But if anything that just makes even more of a case as to why they could team up without issue, since there's a further built-in complimentary contrast to work with.

I have never watched Magnum P.I so there's definitely stuff I might be missing, but looking him up, past the necessary explanation as to why The Shadow's hanging around the 80s, it wouldn't strain credulity at all for the two to team up. The Shadow has had Caribbean/beach-themed adventures and one unrecorded adventure in Honolulu, he has a beach bum secret identity called Portuguese Joe that he could use for this occasion, and Magnum seems like exactly the kind of character who could star as the proxy hero of a Shadow novel. He's lively and friendly and can look after himself, he has a job that leads him to trouble and puts him on contact with criminals as well as victims, he's got secrets and a dark past and a laundry list of character flaws, he's perfectly capable of carrying a story by himself but can be out of his depth in the schemes that he gets caught up in.

Could the Shadow ever functionally exist in a universe shared with a space opera setting like the Lensman series? Or Rick Deckard’s cyberpunk dystopia?

I'm going to tackle parts of this question more throughly when I answer one in my query that's asking me "How would you do The Shadow in modern day?", which I still haven't gotten around to answering because it's a tricky one. I won't go into the specifics for the two examples you listed because I've never read the Lensman books and googling about them hasn't helped much very much, and Deckard's a fairly standard P.I character mostly elevated by the movie he's in, there's not really much to discuss regarding him specifically interacting with The Shadow. The question you're asking me here seems to generally be: Could The Shadow functionally exist in settings so radically apart from the 30s Depression era he was made for?

My answer for this is a maybe leaning towards yes. Starting with the fact that the concept of The Shadow is more suited for allegorical fantasy along the lines of space operas and cyberpunk, than the gritty realism he's been saddled with for decades, which I'll get into another time. For some reason, a lot of people seem to harp on about how the Shadow's costume is impractical and unworkable for modern times, and said James Patterson novel mentioned above ditched it all together, which as you can guess was a massively unpopular decision. Matt Wagner talked once about how cities don't have shadows and men wearing hats anymore and that's part of why you can't have The Shadow in modern times (as if The Shadow was always supposed to be dressing like an average guy, and not cowboy Dracula). But nobody seems to have a problem with characters dressing up exactly like The Shadow showing up all the time in dystopian future cities with fashion senses where they stick out like a sore thumb (and really, they should stick out, otherwise what's the point of being all weird and dark and mysterious?)

Although The Shadow is specifically suited for urban settings, is conceptually rooted in 1930s America, and there are important facets of his characterization related to history like the Great War, there are not the be-all end-all of The Shadow. It's part of the character. Other parts integral to the character are, as mentioned above, the versatility and metamorphous nature he was always intended to have. His nature as a character who exists to thrive in narratives not about him and not centered around him. His roots on Dracula and King Arthur and Oz and Lupin which are concepts that have had so, so many drastical revisions and turnabouts that still stuck to the basic principles of the icon.

Besides, The Shadow's already been there. He's already been to space, he's already been in alternate dimensions, he's already reawakened in modern/future times several times now (when he doesn't just live to them unchanged). He's been a cyborg twice, and between those, El Sombra, Vendata, X-9, the Shadow-referencing robot henchmen from Bob Morane and Yu-Gi-Oh's Jinzo referencing the movie's bridge scene, it's enough to constitute a weird pattern of The Shadow and Shadow-adjacent characters turning into robots. Perhaps one positive side effect of The Shadow's decades-long submersion in fantasy is that it's opened the character for just about anything, and I think this could be a good thing if it was married to an adherence to the things that made him such a juggernaut of an icon in the 30s and 40s.

Really, The Shadow partially works on Predator rules. And by that I mean, the big secret of the Predator that filmmakers don't seem to get is that the best way to make a Predator film is to just put the Predator somewhere he's not supposed to be, and let that play out. Because the Predator is, by design, a trespasser who invades narratives and turns the power dynamics around, and that works for any narrative you put it into.

The first movie is all about setting you up for a jungle action movie with Schwarzenegger's Sexual Tyrannosaurus Crew as the biggest baddest death squad around, only for the Predator to appear, turn the tables on these shitheads and pick them off one by one until Arnie scrapes a victory by beating it at it's own game. The 2nd movie is about a drug war between cops and gangs in L.A, until the Predator shows up and suddenly he's the big problem again that's gotta be put down. All the other movies fail because they try to be "about" the Predator, but the Predator doesn't work that way. He's a ugly motherfucker who's here to fight and kill things in cool ways for the sake of it's warrior game, who already has a specific structure to how his story's meant to play out, and that's all he needs to be. What you do is just take that character, take the structure he carries around, and throw it somewhere that works by different rules, and let the contrast play out the story.

Obviously there's a lot more to The Shadow than this, I write a billion essays on the guy after all, but much of what makes The Shadow work, much of what made The Shadow such an icon at the decade of his debut and such an interesting character to revolve any kinds of stories around, was because of the great contrast he posed to everything surrounding him, and the ways he can both be at the forefront as well as the backseat of any story.

Going back to what Gibson said:

Almost any situation involving crime could be adapted to The Shadow’s purposes. He could meet any exigency on the spur of the moment, and if he suddenly acted in a manner opposed to his usual custom, it could always be explained later.

The Shadow was such an incredible character in his own right that almost anything he encountered was accepted by his ardent followers.

advisable to emphasize the parts played by The Shadow's well-established agents, since regular readers evidently liked them.

The keyword here isn't that the Shadow should be realistic, frankly that's always been a lost cause. He was never really that realistic, and it's unfair to expect writers to keep pace with Gibson who had lifelong experience with the in and outs of magic and daring escapes and whatnot. The keywords I want to stress here is "accepted by his ardent followers".

Make a good explanation, an explanation that fits the character, an explanation that works, and the rest will follow. And if you can't, make us like the character. Make us accept that he can do and be all these things. Give us something to be invested in. And if that can't be The Shadow himself because he has to stay at arms length constantly to be mysterious, Gibson cracked the code almost a century ago through the agents. Make us invested in them, and through them, we will become invested in The Shadow.

The pulp Shadow would get tired, get injured, need rescuing, need to stop and rest and catch his breath, would need to think and plan and make split decisions on the spot and sometimes would make the wrong ones only to reverse them in the nick of time, and it made the fact that he was achieving all these things all the more impressive. The pulp Shadow was a creature of fantasy grounded in the history of the world he was a part of.

If you can make people care about The Shadow, be truly, genuinely invested in him and his world and the people he comes in contact with, be as invested in those as audiences were back then, you can and maybe should put him anywhere, doing anything, as long as you know what you're doing. As long as you understand what makes The Shadow tick, what makes him work and what doesn't, and whatnot.

Which is a lot of words for "do whatever you want, just don't fuck it up"

#replies tag #pulp heroes #pulp fiction #the shadow #lamont cranston #kent allard #the predator #indiana jones #thomas magnum

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anxiouslyfred · 5 years ago

Text

Mold on Me

for @dukexietyweek‘s prompt High School, I have no clue how american schools work so I’m just going with what I know.

Summary: Virgil had only heard about Remus as a kid who annoyed his friends in their classes but after finally seeing what the other student looks like and meeting him is torn between hiding away or trying to get to know Remus better. Remus is already decided on meeting the snarky student again, if only to learn his name.

Warnings: Knife mentions, Food mentions?, unsafe science lab practices mentioned,

/\/\/\/\/\

Virgil had been bullied badly when he was younger. It was why he hated being around the more populated areas of the school and now basically lived in the Library as much as he could. That didn’t mean he was against making friends, just that they’d usually be the ones deciding to make friends and he just wouldn’t question it at all.

“He almost blew up the lab today. Why did I have to get partnered with someone who clearly has no regard for any form of safety? Even when I stopped him and tried to correct the experiment from where he’d mixed all the chemicals up he was literally taking the ones I was trying to return to mix together again!” Logan had been ranting for most of their breaktime by this point. Virgil didn’t really mind, and actually was kind of curious about the student in question.

He hadn’t had a class with Remus King before but already knew plenty of views about him, just because his 2 friends shared different classes with him. Logan’s complaints were always regarding some form of danger or safety protocol but Patton’s were where his interest came from.

The food technology class that Patton shared with Remus did have a lot of interesting assignments getting set at various times, including making savoury ice creams near the time of the open evenings so they could, essentially, prank the children wondering if this would be a good school for them to come to next. Patton had somehow managed to make one that tasted delicious but Virgil still couldn’t work out if the flavour combination he’d been told Remus made only sounded disgusting or actually tasted horrible too.

“Dude, surely the teach would have stopped him if it was that dangerous.” Virgil just couldn’t be bothered to add something more to his list of reasons not to trust the teachers. It was already too long for his comfort and Logan was never one to help.

Patton at least caught onto that and came up with a subject to divert their conversation onto for the rest of their break.

/\/\

The next time Virgil thought about Remus was a few days later as their lunch break ended and he was heading into the science block for his physics class. Patton hadn’t made it out to lunch that day since his food technology class was either side of it so they’d have more time for the practical lessons.

It at least made the corridor Virgil was passing down smell delightfully of chocolate but he was far more interested in, and slightly terrified by, the boy kicking the door of the food tech classroom open, storming down the classroom, yelling “It’s knife work! What about that can’t be turned into uses for a weapon? What planet are you from that blades and any work from them isn’t two steps from a use to attack or torture another!”

One last thought Virgil had about Remus was that his friends were disasters at describing what any human looked like. According to Logan, the boy had obviously dyed his hair and ignored any attempt his parents or brother made to teach him personal hygiene. Patton was a little kinder, saying Remus had a lovely wide grin and energetic eyes, although Virgil was still trying to figure out just what that meant.

His mental image so far had been of some slightly crossed-eyed younger version of the Joker from Batman, but the boy fitting all the stories he’d heard of Remus looked nothing less than gorgeous.

“They’re from the Health and Safety state, Dude. We’re meant to have forgotten the threatening uses of knives we use in cooking unless we are the ones being threatened by them.” Virgil muttered his reply, to anxious about being noticed to say it any louder.

He still got noticed and the boy halting in front of him. “Someone in this damn school gets it! Come join us in class!” Virgil didn’t have much of a choice to disagree as his arm was grabbed and he got dragged into the classroom, sheepishly waving to Patton when the other students turned to look at the rapid return.

“Mr King, I’ve told you before that you cannot drag your friends into here even on a lunch break.” the teacher sighed, confirming Virgil’s assumption over who it was.

“I actually was heading to class anyway. There’s only like 2 minutes left before...” Virgil began explaining, tugging on his arm to get it released just as the bell went off to officially end the lunch period. “Yeah. I guess I’ll have to properly meet you some other time, Remus.”

He ducked out of the classroom before anything else could be said, letting the flow of other students heading to class calm the spiralling emotions and only just hearing “No fair, I’ll learn your name next time, Stachybotrys.” yelled after him.

If only the insane boy wasn’t proving to be exactly Virgil’s type perhaps he’d have learnt something about physics that day.

/\/\

Logan was not amused when he reached their table today. “Do either of you know if Remus means a person or the mold when he mentions Stachbotrys? I have had to argue constantly to get any progress on our study for the entirity of our class.”

“I met him for like two minutes. That should not be enough time for him to have anything to say about me.” Virgil growled, hunching back into his hoodie.

“He met Virgil while trying to storm out of food tech yesterday. Apparently our anxious bean muttered something in agreement of what he was yelling about knives.” Patton added what more he could at Logan’s raised eyebrow.

At least amusement was replacing Logan’s frustration now, a smile clearly being held back. “At least I didn’t try suggesting he locates the mold on rice then. Remus does seem rather insistent that and I’m paraphrasing here, he’s going to find and make his the Stachbotrys that is all he could think of last night.”

There aren’t quite words for everything Virgil wanted to say to that, so in the attempt he let out a rather strangled noise, burying his head in his arms. He could take having a crush on a complete whirlwind maniac who seemed to drive both his friends up the wall but having even the merest suggestion the affections could be returned was too much to understand.

“If he brings it up next time we share class I’ll suggest visiting the library to look up the subject, shall I?” Logan offered. Virgil made a mental note that there had now been 3 instances of teasing pushed too much by the boy who insisted he only ever acted logically.

/\/\

“I don’t need to read about mold but my science partner has decided if I’m going to talk about my Stachybotrys so much our experiments can easily be adjusted to focus on mold.” Remus’s voice was loud as he marched over to the helpdesk in the library and Virgil was just grateful he had decided to read at one of the tables hidden among the shelves while waiting for his lift to arrive. “Apparently that means I do need books to source the information I already know so which shelves am I looking for?”

Definitely not the area Virgil was in. The shelves near him included cultures of the world, and how to books for various creative hobbies. The only thing that seemed even remotely likely to interest Remus were the history of war books near the end of the isle but they didn’t connect to mold at all.

Virgil’s reasoning and frantic checking that he could hopefully avoid the other boy distracted him enough that he didn’t realise Remus looking through the shelves opposite him. “Stachybotrys! I found you again!” He couldn’t miss the exclamation though.

“Didn’t realise we were playing hide and seek. I thought I was writing an essay for English Lit.” Virgil hissed back, really not wanting to give the librarian any cause to kick him out.

“Ooh, what’s it on? And what’s your name? You’ve been on my mind like a mold and it would be nice to have the right name for the newest mold I’ve encountered.” Remus clearly didn’t care about making some noise although he did quiet down dramatically when he saw how uncomfortable the noise was making Virgil.

“I’m Virgil though I’m fairly sure you’ve already got my friends convinced Stachybotrys should just be a nickname for me now.” He was actually annoyed at that.

Patton always butchered the word, and would only try to use it when mentioning how besotted he thought Remus was since the only diversion of subject in their food tech class recently had been how the molds of different foods could make people sick or kill them.

Logan on the other hand would just randomly use the name for Virgil in the hopes Remus would be somewhere close by to hear him. That had never worked since Virgil was either in class, outside to eat or in the library.

Remus peered at him a little. “Still fits though. You definitely appear like a threat but ultimately leaving the world undecided over how dangerous you are. So assuming Logan’s one of your friends, who is the other I’ve got calling you it? And do they think I have a chance at dating you?”

“Patton and are you seriously asking me if my friends think you should ask me out? Dude, if you want to date me just ask me if I want to go on a date. Or is being ridiculously convoluted a game of yours?” Virgil scolded, shaking his head, trying to decide if there was some kind of mind game happening in the moment or not.

“Okay then, Date me, Emo kid! We can go ravage a farm search for signs of mold and decay among all their crops and end with a picnic of snacks I invented recipes for in class!” Remus just shrugged at the tone, moving on to what was requested of him,

That was even further from Virgil’s expectations of the response than Logan saying Remus was set on finding him had been. Most people were at least a little put off by how harshly he reacted whe uncertain of situations. “Can we start with the food? My brain will just panic over how I could die from being close to mold and then eating if we do it your way round.”

“Of course we can. Let’s meet at Gorse Hill farm at like 2pm on Saturday for our date then!” Remus jumped up from his spot then, a wild grin on his face as he waved, heading off. “Can’t wait for it, Stachbotrys.”

#dukexietyweek2020 #dukexiety #remus sanders #virgil sanders #patton sanders #logan sanders #high school au

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akimmito · 5 years ago

Text

I’ll still be with you

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Master List

Chapter 3: Moon

Initially, I would only be in Paris for a couple of days, but that night changed everything.

No matter how much I think about it, I can't see that it was otherwise.

Nor do I want it to have been.

Red Robin jumps off Wayne Tower when he hears Red Hood calling for a backup in a showdown against Penguin's some goons, he's the closest to his location and the others are busy on the other side of town dealing with their own problems.

Nights like that, cold and with bright silver clouds that insist on hiding the moon, remind him of that night in Paris, of her blue eyes illuminated by a moon that managed to escape from the spongy trap in which it was. He smiles a little, even though he should be more focused on his mission, but the feeling of running and flying through the skies of Gotham is something he will miss, his nights are numbered.

Stopping the Penguin's goons isn't easy, they managed to cause them a couple of problems but they finish fast enough to hear Batman's words perfectly. Tim barely registers what Jason says next to him, focusing solely on Bruce's voice.

"When everyone's done, we'll see you in the cave."

Cold, distant, like a dagger lazily embedded in a lung. The tone he occupies when one of them has disappointed him, lately it's Damian who has received it, even though the teenager has stopped being the ten-year-old brat who came to the mansion, but what for them was four long years of struggle for Bruce it was just a few months. He didn't see Damian's growth, nor did he see his downfalls, nor did he see what ended up throwing down the barriers that had been created years ago between him and everyone else.

Batman doesn't see that his Robin is capable of leaving the nest, he just needs to realize that his wings are strong enough to fly alone. Tim had a hard time, but perhaps it was because of the chains with which he tied his wings himself, convinced that he needed them.

Back in the cave, Tim waits for Damian's arrival. They're not the closest, years of conflict don't disappear in months, but the last year has been difficult for Robin, stumbling again where it was already leveled ground and he cannot avoid the guilt generated by the thought that it was his obsession with bring back to Bruce what has generated the unhappiness of the youngest.

When Damian arrives, their gazes meet for a brief moment, but it's enough for him. Tim leaves the cape and hood on the back of the chair and walks out, not wanting to hear the inevitable debacle in which the Batman-Robin relationship will end, a relationship of partners that he fought so hard to reestablish and that, without being able to do anything to stop it, it has crashed into an unbreakable wall. This time it's not Damian's fault, no, it's Bruce's fault.

He enters the mansion and walks aimlessly, stopping in the dining room as he lets himself be invaded by the memories of his adolescence being Robin, then becoming Red Robin, the moments when he felt lost and the few times he thought were if not happy, enjoyable.

It feels as if tomorrow everything will disappear in front of his eyes, but it's only the inevitable goodbye to the only place he had ever considered home that forces him to reminisce about those times. These were not simple times, there is nothing simple about being a vigilante, but it was fun.

He settles into a chair and waits, the what? He's not sure, but he knows to wait. Learn to trust your instincts, she had said, you trust the facts too much, sometimes what the soul says can be right. Five months have passed since the last time they met, it will soon be her birthday.

"Master Tim."

"Alfred, how is Damian?" He doesn't look at the butler, knowing this is the last time he speak to him.

"Master Bruce has seated him on the bench indefinitely." The old man goes to the kitchen leaving Tim alone again, at that moment he directs his gaze towards him. He lets out a sigh before standing up, his gaze now fixed on the finely varnished table. "You know, Master Tim? The day you first arrived at the mansion, I didn't think you would become so important to this family. "

"Alfred..."

"Please take good care of yourself. Don't forget to sleep at least four hours a day, eat all three times of day, and send me photos of the family you will form. "Tim feels his eyes sting when he sees Alfred's kind smile, especially when the man hands him a small package of his name.

To: Timothy Jackson Drake-Wayne

A memory of: Alfred Pennyworth

"I...Thank you…."

Tim hugs the butler tightly, feeling the hug, clinging to his understanding and affection.

"As soon as I settle in, I will get in touch with you.” He assures the man who became an example for him, Alfred was always a constant in everyone's life, always close, supporting them in the most difficult moments and comforting them when the anguish overcame them. The cornerstone of the Wayne family.

"I'll be waiting."

Tim allows himself a small smile, he will miss Alfred very much. He may be the person he will miss the most in the whole family, even above Dick.

"Al... Oh, Tim. Something happens?" Dick looks curiously at the hug, the atmosphere in the dining room feels gloomy, and it gives him the feeling that not only has he interrupted an important moment but he also just learned something that he should not, even if he does not know what it is.

"I'll go, Dick."

"You go? Why?"

"Master Tim has a very important mission." He smiles again, but without the shadow of goodbye reflected in his gesture.

A very important mission, indeed.

The next days he occupies to put Wayne Enterprise in order, weighing in whether to leave everything in the hands of Bruce or place Damian as a direct heir. He also begins to appear less and less as Red Robin, not for his family, but so that the city does not suddenly feel the disappearance of one of its vigilantes.

Subtly and gently he loses himself in his routine, cutting off communication with the family. The only thing that interrupts his final preparations is an unexpected visit from Dick, catching him off guard after returning early from a patrol.

Nightwing awaits him on the roof of his building, holding a box of cakes and two coffees.

The two guards settle on the old theater, both with a coffee and cakes in the middle of the two.

"When you go?" Dick breaks the silence, his gaze is fixed on the dark horizon.

“Two more weeks, there are still projects I need to oversee on Wayne Enterprise, plus an upgrade for the steeple that I want to get finished.”

"Alfred said it's an important mission, does it really require you to disappear?" Dick looks at him worriedly and Tim can't help wanting to tell him everything, to trust his brother like he used to, but he can't it.

"Yeah.”

"When you will return?"

"I'll not come back…"

They are both silent, focused on anything but each other. The truth told is too awkward and sour, the realization that it might be the last conversation they have and that they will never see each other again weighs heavily on their shoulders.

Small drops begin to fall on them, but neither is fazed.

"Tim. Take Damian with you."

"What?"

“He… Damian hadn't killed anyone, not even by accident, in three years; It sure feels bad on its own, but B doesn't make it any easier. I tried, Timmy, but I can't help him and if he keeps wanting to prove himself to B, it'll get worse. ”The rain begins to fall more insistently on them and is their signal to get up.

Tim lets him into his residence, allowing him to settle in while he goes over the words spoken by the older man, he removes the hood and leaves it on one of the sofa, revealing the dark circles and the paleness of his face.

"When was the last time you slept?"

"Five days, I need to finish everything..."

"You must rest a little."

Tim smiles bleakly and settles on the couch across from his brother.

"I'll rest when I get out of Gotham… About Damian, are you sure you want me to take him?" He examines the older man's face, his mask has been removed, and his expression lines reflect the tenseness of his entire body. "The last word is his, but if he accepts, you will no longer see him. You adore it, if you could you would have adopted him."

"And that's why I want the best for him, if I take him to Blüdhaven it will be the same. I never get rid of B nor in another city, will the same happen to him... I want Damian to be happy, to find his own path without fear of disappointing someone, without the expectations that being a Wayne puts on him. "

"Fine." He gets up and walks into his little secluded workroom, the only computers that aren't connected to either WE or the cave or the bell tower, has his own technology designed by him and funded by Drake Inc., no way let Batman know about the information stored there.

And if you are taking Damian, he must include him in his plans and let her know.

"Tim, what are you doing there?"

"You asked me to take Damian, I must have everything ready to offer to come with me."

Later, he goes into his work ignoring Dick, even ignoring the goodbye and the request to rest; Tim has all his concentration focused on the new documents that he must write and the legal papers that he must forge in case of taking Damian with him.

Damian won't accept it, least of all coming from me.

If I have the documents ready tomorrow, I will look for him... I hope this doesn't delay my plans.

------

Tag list: @incredulous-reader @dnsakina

#ml x dc #maribat #maribat au

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davidmann95 · 4 years ago

Note

So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun. 2. Superman brews the Super–Elixir. 3. Superman answers the Unanswerable Question. 4. Superman chains the Chronovore.  5. Superman saves Earth from Bizarro–Home. 6. Superman returns from the Underverse. 7. Superman creates Life. 8. Superman liberates Kandor/cures cancer. 9. Superman defeats Solaris. 10. Superman conquers Death. 11. Superman builds an artificial Heart for the Sun. 12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10.  When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead–in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ‘ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades.  In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then. How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy. Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12. You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction. How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work. What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars. At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it.  This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.” However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious.  

NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

#All Star Superman #Grant Morrison #Superman

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