#like it doesn’t even matter if Lex fully put the pieces of Robin together

[frownyalfred]

Lex Luthor in BVS, scribbling “you let your FAMILY die!” in red ink on a letter to Bruce Wayne, who famously, tragically lost his only son at a young age: oh yeah he’s gonna love this

[davidmann95]

All-Star Superman #2

A scant year to the day since part 1!

All evidence to the contrary I actually have always wanted to go back to this, especially since I keep getting asked if I’ll do so and it stirs my omnipresent sense of guilt over my lack of productivity, and also the last year has not resulted in a mass turnaround of people realizing it’s a for-real good book and not just comfort food so this remains necessary. This isn’t going to be quite as in-depth as the first go-around - both that as the introductory issue and that as the introductory recap had a lot of groundwork to lay - but still plenty to cover, as this issue sets up Lois and Superman’s arcs for the series, which is rooted (amazingly, especially right off the bat, given the book’s reputation of being about how amazing Superman is) in how badly Superman’s let his fears and shortsightedness poison the most important relationship in his life.

If the first issue is the big classic Superman material - Superman saving the day from the monster! Lois and Clark and the rest of the Daily Planet crew! Lex Luthor’s sinister schemes! A ticking clock to doom! - this scales all the way down to the uncomfortably, stiflingly intimate. Classic archetypal Superman stuff gives way to the most Silver Age issue: casual huge ideas, relationship drama, misunderstandings, last-minute reveals that recontextualize the entire issue, and baaaarely latent psychodrama bubbling up at the edges. In service of that the visual framing here is not unlike a stage play, a limited set of physically connected locales as a pair of figures bounce off one another. Quitely and Grant’s work is therefore comparatively subdued next to issue #1, keeping to traditional panel layouts and wide or medium shots with a background color palate of mostly blacks and whites and grays with a handful of other colors popping out...until Lois starts to lose her shit at the end of the issue and we get close-ups and full black and white panels and eerie glowing and dutch angles and that unsettling abstract image of her clenched teeth, as the story starts to squeeze us like Lois’s gut.

She’s right to be unsettled for that matter; she’s alone on Superman’s turf (the one issue where that’s the case other than #6, and that one’s about how Smallville stopped being his home), the weird antiseptic alien lair of the ultimate super-hobbyist, and all the baggage of their relationship is spilling out into the open as she has less and less reason to think the best of this odd man who’s been lying to her for years. Unlike the Silver Age tales this is referencing, she’s absolutely on the money with her complaints about him: he’s been dicking around with her forever and thinks it can all be okay now (His little “What?” on the second page when she bursts his bubble says it all), and he’s awkwardly overcompensating trying to fix it.

While the Fortress tour serves to peacefully acclimate us to how utterly bizarre Superman’s world really gets past the traditional rescues (the little cubic starfield we don’t know the meaning of yet, trophies are floating rather than physically suspended, the glowing flowers in Lois’s room, “The Phantom Zone map room’s pretty dull unless you can see radio-negative anti-waves”), Superman himself is...humblebragging isn’t the right way of putting it, but it feels like he’s working way, way harder than he ever will again in this book to be cool and impressive and assuring. He’s a dope in love, but he can tell something’s up and that super-brain of his isn’t putting the obvious pieces together, or noticing that this is just putting her off further and further until, like Bluebeard’s wife before her, she stumbles through the threshold of the door she was never meant to, even of course in the end he’s still Superman and there’s a perfectly good reason. Not a good enough reason, however, for her accusations at dinner to not hit home - his mind may be expanding, but he’s still way up his own ass here in a genuinely unpleasant way that’ll be elaborated on momentarily. For now he’s left stammering that she should trust him and it’s limp and phony, especially compared to his big entreaty for someone to trust him in #10 (which’ll be right after he finally comes clean with her); while Superman may not be considered a savior figure by his friends in here the way he often is in the mainline comics Lois seems to be the only one who doesn’t look up to him at least a little bit, but that clarity means she’ll call him out where no one else will.

Across the next two pages it’s all laid out, and we get to the roots of where things have gone wrong between the two of them. Lois is paranoid, certainly, the panels are literally squeezing in on her, but with Superman seeming so out-there and alien like never before she would have every right to be even sans alien chemicals. But notably there remains throughout a part of her assuming the best of him wondering if maybe this is just another big misunderstanding or that he’s simply been mutated by the solar overexposure. And in her heart of hearts, she admits that maybe she wants this to be another big damn trick with a completely sensible justification, because the alternative is that this is the new normal and she has to accept that he’s a flawed mortal man. It’s ugly and it’s mean - especially since she likes Clark - and it’s human as hell in the worst, most understandable way. It’s not going to be until said mortality is staring her in the face that she’ll be able to accept it.

Superman, meanwhile...someone could write a thesis on these panels as an articulation of the Superman/Clark dynamic. The Mirror of Truth is actually preexisting, centerpiece of a Jerry Siegel/Curt Swan joint in Action Comics #269 that was later adapted into the Superman newspaper strip where Lois uses it to figure out Superman is Clark Kent until he tricks her into believing the mirror can lie, after which he tosses it in a volcano; here it’s survived, and curiously shows him as Superman rather than Clark, when in the original tale it displayed Kent even though that was fully the era of Clark as a disguise. In here too it’s Superman who’s the ‘true’ identity of the two and which this time is reflected in the mirror, yet as in #1 it’s Clark who says what he’s truly feeling. In that light, the final panel of the abandoned glasses reads like nothing so much as Superman using the mirror as affirmation that the truth of the solemn, steadfast Superman identity gives him licence to deny the uncomfortable emotions his squishy human farmboy side is dredging up, ‘lying’ to him in a way he had to fake in the source material. Those emotions however knock right on the door of what he can’t grasp here: Clark’s so wrapped up in his own head trying to do the ‘right’ thing that he’s overlooking how his attempts at self-sacrificing selflessness are hurting the people around him. Throughout the series he’ll come to rely on others, first at his lowest points with Jimmy and the Bizarros, until at last he comes to invest true trust in Lois, and the Kandorians, and Leo Quintum, and even Lex.

For now though Lois is deep in a hole, a brief but memorable meeting with the Unknown Superman of 4500AD - everything Superman seems to be becoming to her even before she wonders if it’s literally him, cryptic and masked and with a big ‘ol question mark right on his chest instead of the familiar comforting logo, even his gutbuster of a question reinforcing his distance from a recognizable human experience - leading her all the way to reimagining her Silver Age ideal happy ending of marriage and family with Superman as a Cronenbergian horror. It’s still a Superman story, it turns out he had the very best reason possible for wanting to keep her in the dark, but right through to the end he remains just a little condescending in his reassurance, and his gift of essentially bringing her up to his ‘level’ isn’t going to solve the problem. While the next issue lets us see the two of them properly in love, it won’t be until the elephant in the room comes out that they can come to terms.

Additional notes

* God Quitely is so good. Look at the way the seatbelt curves in the first panel! Lois’s bemused little disbelieving smirk!

* Pages 2-3: Aurora Borealis?!

* Lois is the only character other than Superman who gets to have actual narration (in both cases as looks at their in-text writing), the only one whose viewpoint is thus privileged in the same way as his.

* The key is the realization of this series’ aesthetic in a nutshell: the old-school idea in a sleek, shiny, clever new way that doesn’t take away from the fantastical toyeticness of it all. For that matter, the key is the centerpiece of a later bit with Superman that could be fairly described as the long-term goal of the book book as Morrison’s hoped-for perennial: “One day some future man or woman will open that door, with that key. When they do, I want them to know how it felt to live at the dawn of the age of superheroes.”

* This is A. The first note of a larger DC universe existing offscreen, something that I’ll go into more when discussing #8, B. A brilliant, concise, fun little summation of his place in Superman’s world, and C. Absolutely hilarious given Morrison suggested in his exit interview that this could be seen as much later on in the same universe as All-Star Batman & Robin The Boy Wonder, which entirely rewrites the tone of that moment.

* Already discussed the key but the muscles in Superman’s hand tensing a bit at picking it up is another great detail.

* The glimpse of the Fortress here is excellent: the statues of his friends and enemies instead of pictures because he does things bigger with the yellow electric something crackling at the end of it, the off-model but curious-looking robot appearing to glance at Kandor (are it and the bigger robot with the seats on top of it trophies, or Superman Robots with different designs tasked for specific purposes?), the classic Bad Penny Good For One Crime, the Legion time bubble that establishes his time-traveling credentials for later, the Titanic where he and Lois will dine when their relationship hits a proverbial iceberg, and most strikingly the space shuttle Columbia, his apparent rescue of which I have to imagine is a reference to Astro City’s Superman analogue Samaritan debuting by averting the Challenger disaster.

* It’s next issue that has my actual favorite Superman/Lois moment of all time, but “When we’re married fifteen years, when I’m sagging and he looks just the same, will he still meet me and say things like...” “These are for you. I picked them on Alpha Centauri 4.” is right up there.

* The technological aesthetic of the Fortress is so different than P.R.O.J.E.C.T., sleek and solid and cleanly-lit and antiseptic, beautiful and advanced but a little cold in its own way. As stuffed with wonder as this place may be, there’s something hauntingly empty about it, suiting both the tone of the issue and as a physical embodiment of Superman’s emotional state. The one part that goes against it is the forbidden room, it even has beakers and test tubes to sell the mad scientist vibe...though if you were to stretch it, it much more close resembles the human technology seen at P.R.O.J.E.C.T., and this is meant as a gift for one.

* The cosmic anvil made it along with the key into the CWverse, Lois used it in Elseworlds! I may not be expecting All-Star quality from the upcoming Superman and Lois, but it’s good to know the powers that be are using it as a reference point (beyond how it inspired Supergirl’s take on Cat Grant, a connection I discussed in a post that seems to have vanished into thin air). The whole page is perfect, Superman at his most joyfully benign and beautiful and godlike; it’s the one bit where Lois’s skepticism cracks a touch watching him feed his adorable little Lovecraftian abomination from beyond the stars.

* While he never appears physically aside from a statue Brainiac hovers over this series from beginning to end in name and deed, the ominous ultimate enemy of Superman’s past, the great trial overcome even as the scars forever remain. Morrison mentioned in the exit interview that he didn’t appear in here because he and Quitely already used him as the villain of JLA: Earth 2, but that if he had it would have borrowed Superman: The Animated Series’ take on him as a Kryptonian AI gone rogue. Personally I like his place in here as-is, a little totem parallel to the Justice League references indicating the breadth of Superman’s history between putting on the cape and Luthor’s final scheme.

* A pair of minor notes: Lois points at Superman with the pointy fork when asking him pointed questions, and while it’s not immediately clear on first read she does in fact ask the Unknown Superman exactly 3 questions (“Kal Kent?” “Will Superman and I ever marry and have children?” “What do you mean?”) before he replies with his own, as promised.

* “Oww.” and “Tickles.” literally could not be more perfect Superman moments.

* Worth taking a moment to marvel at just how many future plot elements are seeded here. There’s the obvious bit of Superman thinking about having a partner setting up the next issue, but we also for issue #6 have our first look at Kal Kent and Lois wondering “What if (the Unknown Superman) was really (Superman)?” when Clark will indeed pose as him, for #10 we get our first look at Qwewq, and for #11 not only is the Sun-Eater introduced but so is Robot 7′s malfunction as a result of Luthor’s tampering.

* The structure of the series according to Morrison is a solar cycle, beginning and ending at midday with nightfall in the center. If last issue was the sun at its brightest we begin the descent here, with Superman remaining larger-than-life and ultimately trustworthy but with his classic persona and habits held to an additional, unflattering degree of scrutiny.

[dottie-wan-kenobi]

Hey! A bit ago I saw that you were wondering if anyone was interested in a tutorial on dialogue?? And I just wanted to say that I would totally love to learn how to write dialogue/banter like you do, if you’re still interested in creating that tutorial of course

Hi yes of course I’m still interested!! But before I jump in, let me say that this is by no means a be-all-end-all, and this is just what works for me. If it works for other people, that’s great! If it doesn’t, that’s totally valid! Maybe this could be a jumping off point for other pieces of advice, idk. But anyway, let’s gooooo

Okay so I’m gonna be pulling out a bad example of my own writing, and a good example for each point, which is extra but will hopefully show the differences, & I’ll be doing it without putting anyone else down so yeet!

SAY IT OUT LOUD, MAKE SURE IT FLOWS, MAKE SURE IT MAKES SENSE

Another point to this one is, can you imagine real life people saying it? If the answer is no, then you gotta rework it. If the answer is yes, then yay!

Otherwise I’m not really sure how to explain this. Making sure it makes sense is easy enough, and saying it out loud is too, but making sure it flows is different. What I do for this is maybe not the best advice, but I use less periods. Commas, dashes, and ellipses keep it from being choppy. Also, adding words/phrases such as ‘well’, ‘like’, ‘I mean’, ‘uh/um/er/etc’ can help connect sentences/thoughts together in a realistic way.

BAD EXAMPLE:

“Bruce shrugged. “I knew, but didn’t realize, I guess. I’ve known he was young since I first learned about him.”

Clint, who was blanching, said, “he looks like a kid. Or an underage father. Think about what he had to go through as a kid, though."” - posted on July 1st, 2014

Why it’s bad: (Ignoring the horrible blocking dskljflksdf)

It doesn’t flow! Bruce’s line here feels just a little off, probably bc I was trying to put information where it shouldn’t have been (more on that later), but even without the second sentence, it’s still off. Time to reword, then; I’d change it to “I learned about it when I was studying him, but I kinda…forgot.” Idk about yall, but I can see Mark Ruffalo saying this, shrugging sheepishly. This flows a lot better and in my experience, it’s more likely someone would say this instead of “I didn’t realize, I guess”.

Clint’s lines should be combined, and there should be some diction added in. “He looks almost like a kid, or like, an underage father. God, think about what he had to go through!” Way less choppy & has some rhythm to it, instead of sounding like a robot is saying it.

GOOD EXAMPLE:

““Stop texting me weird stuff so late at night.”

“It’s not weird,” Sam denies immediately, “You just don’t appreciate it.”

“Why would I appreciate—” Steve reads carefully off his screen, “—Buzzfeed’s ‘Which Possible Illuminati Member Are You?’ quiz?”

“Because everyone thinks you’re in the Illuminati anyway, so why not see if you get yourself, you know?”

“Okay, but at four am? What were you even doing up that early?”” - posted on March 2nd, 2019

Why it’s good:

This is one of those I suggest reading out loud to understand the flow. Banter, at least in this case, is like slapstick comedy, and it’s gotta go back and forth without going way off course (unless that’s the desired effect!). Steve says something, Sam picks something specific to react to & adds a comment that makes it seem like they’ve maybe had this conversation before, and from there, they pass the rhythm to each other. Going from the second-to-last to the last lines is part of the flow; Sam makes a point that Steve doesn’t want to refute, so he continues it in another way. “Okay, but” is like the hinge connecting one flow to another. I’m just talking in circles now but anYWAY THIS IS BACK AND FORTH.

TRY TO FIT THE CHARACTER

Think specifically about the character, and if it sounds like something they would say or not. That’s kinda hard at times, so just make sure you aren’t having them say things you can definitely NOT imagine them saying. I’m gonna go with Batman because we all know him enough to know what he absolutely would never ever say.

BAD EXAMPLE:

Batman says, “And I was like, ‘oh my god, is this serious? You’re just turning yourself in?’ And he said ‘hell yeah I am!’ and I almost died from the shock!”

Why it’s bad: 

Batman is a character who doesn’t ramble and wouldn’t retell an event like this (by paraphrasing it & recounting exact exchanges). He’s a very stoic person, and this whole thing is more emotionally open and telling than he would be comfortable with. And while this flows, I can’t picture him saying it unless it’s a heavily AU’d version, which is generally not what you want.

GOOD EXAMPLE:

Batman says, “The Joker turned himself in last night. I assume he’s planning something, something big if he’s willing to go to Arkham for it.”

Why it’s good: 

This is a lot more subtle with the emotions, and a lot more monotonous, which is what Batman would probably want to sound like when recounting an event like this. He WANTS to sound like a textbook or police report, which are serious and straight to the point. But he can still add his thoughts into the mix, e.g. “something big…”, which shows how he’s kind of surprised and is thinking about what it means.

YA CAN’T ALWAYS INPUT INFORMATION INTO THE DIALOGUE

Sometimes you really want or need to share some information with the readers, and an easy way to do that is with dialogue, right? Sometimes! This, like everything else, hinges on flow & the realisticness of the words. Some pieces of info need to be conveyed through thoughts or actions, and some of it just shouldn’t be shared, no matter how much you might want to include it.

BAD EXAMPLE:

“Bonnie asked, “so…Original vampire? What does that mean, exactly? If you don’t mind my asking, I mean.”

“It means that my siblings and I were turned into the very first vampires after the death of my youngest brother. Also turned were my father, sister-in-law, and nephew. All vampires in existence come from us.”” - posted on March 6th, 2017

Why it’s bad: 

The OG vampire in question here is Elijah, and while it makes sense for the character to quickly summarize it, it doesn’t flow. He would probably react firstly to Bonnie’s last sentence, then answer more concisely, “It means that my family and I are the first vampires in existence.” Maybe with an additional comment about them being the source of all other vampires, but not much more. Being so specific chops up the rhythm and makes it harder to understand, almost, ‘cause that’s a lot of people to keep in consideration.

GOOD EXAMPLE:

““What are you talking about, Kev?” Cheryl sets her phone down, the picture of fully-invested. “Schools don’t just shut down in one day.”

Kevin flops into the other chair, breathing calmed for the most part. “Apparently they do. Dad told me they arrested a teacher there for selling Jingle Jangle to students, and when they were going through his office they found meth. The basement was being used as a meth lab. The whole thing’s being quarantined and shut down until further notice.”” - posted on August 2nd, 2018

Why it’s good: 

It flows!!! For being secondhand information, it’s clear enough to understand without bombarding readers with extremely specific details. It reads almost like an online article, with enough feeling to make it interesting, while still explaining exactly what’s happened.

DIFFERENT MOODS/DYNAMICS

Something to think about when writing dialogue is what mood your characters are in, and what kind of relationship they have with the character(s) they’re talking to. If person A is in a bad mood and talking to someone they like, they might try to tamp down on the mood in order to be nice. If person B is in a great mood and talking to a stranger, they might be pretty exuberant and friendly. Etc etc. Gonna use Superman as an example (this is extremely cheesy but it shows the difference).

BAD EXAMPLE: (Mood)

Extremely annoyed, Superman tells Lex Luthor, “Lex, you’re crazy! Trying to take over Metropolis with a hair growing scheme is just stupid! I’m leaving!”

He goes on to his date with Lois, now as Clark Kent, and says with a smile, “Sorry I’m fifty-seven minutes late, Lex kept me at work! Anyway, how was your day?”

Why it’s bad: 

Okay I know this is cheesy I’m sorry I wrote this at 2 am last night lkdjflksjdfhskjdfhjashf ANYWAY. Superman goes from talking to Lex, who he doesn’t like and is quite annoyed with, to talking to Lois, who he does like and presumably isn’t annoyed with at all. The problem here is that you usually can’t turn moods off like a switch. Even though Superman likes Lois, he wouldn’t walk into the date perfectly happy. The annoyance from dealing with Lex would stay with him (though it would probably fade the longer the date went on). I think instead of smiling, he would be rolling his eyes a little and complaining like, “I swear, he’s so inconsiderate….”, instead of immediately jumping into “how was your day?”

GOOD EXAMPLE: (Dynamic)

Superman laughs as Robin does a flip off his shoulder. “Good job! Maybe next time we could try it from a little higher up,” he winks.

Robin cheers, “Yes! Thanks, Uncle Clark!”

Superman nods and leaves, finding Batman in the hallway. Seriously, he says, “Batman.”

“Superman.”

“Did you get your report done? They’re due by this afternoon.”

Why it’s good: 

Again with the cheese that’s my bad lmao. This is mostly to show that characters are gonna sound different when speaking to different people. When talking to Robin, who is a child and quite a friendly one at that, Superman is teasing and joking around. Then, when he talks to Batman, who’s a grown man and also his coworker, he’s more serious and to the point. Both situations fit his character but show he’s got different relationships with different people.

IN CONCLUSION, uhhhhh yeah follow these points and hopefully dialogue will come a little easier. Experiment and have fun with it (these aren’t rules, but guidelines!), and if there are any questions I’m happy to clear them up/answer them/whatever lol.