Heroism and Superman

I think about Superman: Earth One a lot, primarily because I do not like it at all. But in light of recent Superman stories, maybe I'd be better off rephrasing: These days, Superman isn't for me. Smallville, the various DC comics, Man of Steel--looking at what the stories have in common is instructive, leading me to figure out why I don't particularly care for Superman these days.

What's the biggest difference between George Reeves in Adventures of Superman and Tom Welling in Smallville? What separates Earth One from All-Star? Man of Steel from Superman: The Movie?

The answer could be multi-faceted; we could talk about mood and tone, about narrative sophistication, about musculature, about time frame, etc. But for me, the difference comes down to conflict. George Reeves, Christopher Reeve, Grant Morrison, Richard Donner...all these versions of Superman are confident in their role, they don't have any internal conflict over what they should do. Tom Welling, Henry Cavill, Zach Snyder, and J. Michael Straczynski...they all show us a Superman who hesitates, equivocates, and sometimes just plain doesn't want to be a hero.

I'm not saying that Superman shouldn't be allowed a few moments of doubt, or of weakness. Neither am I saying that there shouldn't be stories about heroes who are reluctant or who flinch in the face of difficult choices.

What I'm saying is that I don't care for Superman in that role. I don't need to see him trying to figure out his morality. I don't need to see him wandering, second-guessing himself or his place.

But that's just me. My Superman was fully formed after a single page of exposition written by Jerry Siegel and drawn by Joe Shuster. Even when they had chances to expand--such as in the Superman ongoing series that debuted soon after, or in the newspaper strips--they didn't depict Superman as hemming and hawing about whether or not he'd be a hero. He just is one.

Apparently, a sizeable chunk of the audience does want to see him trying to figure things out, questioning himself. Evidently there's a market for a Superman who is also Spider-Man. That's fine; it's just not for me.

The interesting thing about this, about the current versions of Superman, is to place him into larger contexts. What can we infer about, say, the mentality of the United States based on the version of Superman that dominates pop culture right now? 

For one thing, the United States has a confidence problem. It's no longer sure of its identity. It wants somebody to tell it what to do. Sadly, that somebody seems to be military in nature. This lack of self-confidence and the military nature of our appeal for help  probably reflects the origin of the nation in both genocide and civil war. When in doubt, charge into battle. This nation is not missionaries, it is not compromisers, it is not negotiatiors.

A while back, when I was in full research mode, I went through All-Star and counted up the total number of panels devoted to violence. It's something around fifty (though I'm not going to look for that page of notes within the thousands that are weighing down my filing cabinet). It's not a story about fighting. It's about finding other ways to solve problems, through unity and sympathy. Whole issues go by without a single punch thrown.

In short, I don't think the United States has always been this way. It's tied to 9/11, of course, and reflected in the dominant stories of our time (as stories have always reflected their tellers' situations). Stories like Superman/Batman and Civil War seem to be meditations on how the United States should use its power. As far as I can tell, they're literally arguments between people about this topic that turn into violence.

Wait a second. Are these movies really about gun control?

I guess I'd have to watch them to find out. I might just reread All-Star instead.

Following Links

So I was looking at pictures of the Siegel house in Cleveland (Glenville, to be specific). I came across a few interesting things.

There's evidently yet another documentary about Superman, called Last Son. This one delves into the truth behind the creation of the character. If I'm reading correctly, it's more about the death of Siegel's father than anything else. Looks interesting. Not quite sure how to get my hands on it, though.

Marc Tyler Nobleman, creator of Boys of Steel (a comic book biography about Siegel and Shuster) wrote this little post about the current popularity of Superman's creators. The Last Son guy throws his two cents in.


In an unrelated link, there's this essay on the impact of John Byrne's 1986 variation of the Superman story at newsarama, by tomothy Callahan. He says the legacy of Byrne's changes is the humanization of Superman, and the cumulative stories--continuity, in other words, and character issues instead of just fights.




Here's a lesson plan on how to teach heroism and mythology to middle-schoolers.

Simply mad about the house.

Thanks to meeks for the link to his footage of the ribbon-cutting ceremony. The opening speech, by Mike Ocevski (am I spelling that correctly?), is great. If anybody knows the guy who delivered it, and can connect me with him, please do so.

Every child's father should be their hero, but if he wasn't there Superman would be a great substitute.

The speech gives us a whole lot of different interpretations of the character and the way people apply them to their lives. I had no idea there is a Siegel and Shuster society.

The rest of the ceremony is great, too. There were a lot of people involved, and it seems really cool that they gave out bricks from the original house to various people, including the current residents. The "official super bricks."

At the end, when a tarp is being removed from a fence that has been cast with the superman logo: "Can I have my men of faith please lift the veil off the fence?" Tongue in cheek religion?

Immigration

The Invincible Super Blog has an interesting take on the idea of Superman as an ideal immigrant, through the eyes of the character Hitman (issue 34). There are a great many ideas about Superman as an immigrant.

Immigration is a key component of what people call the myth of Superman. Gary Engle writes about it in an essay called "What's makes Superman so darned american?" that's in Superman at 50: the persistence of a legend (I wanted to link to something, but there doesn't appear to be any knowledge of this book on the internets--yet I have a copy on my desk right now).

You know, Superman comics don't sell all that well, at least that's what the comic shop workers I've been interviewing tell me. The last movie was not what people wanted. I have no idea if Smallville is a big hit or not, though the eight seasons it has run offer some indication. And yet Superman is huge right now. There are all these things going on, such as the house restoration. And people write about him on their blogs every day. People also dress up as him every day, sometimes getting arrested for it.

Great, now I have to go to Cleveland.

Gods Among Men



Another in a series of essays that compare Superman and Jesus--this time with Heracles thrown into the mix.



And here's a blog that unfavorably looks upon the comparison of Obama and Superman.



A New Site of Pilgrimage



I'm wondering how the restoration of the Siegel home in Cleveland will affect this project. The wording in this article has a religious slant, but the real reason to take a look is the photography:


Since Superman was born in Cleveland seven decades ago, visitors from around the world have made pilgrimages to what they consider holy ground. Above, the childhood home of Jerry Siegel, who, along with his friend Joe Shuster, created Superman, in the Glenville neighborhood of Cleveland.



Also from the Wall Street Journal.



Here's one from the town of Cleveland itself, so to speak, that gives actually useful information, such as the fact that the house is still a private residence, its address, and the ribbon cutting that occurred this past weekend.






It's a curious thing, the way these article are constructed. When I was writing about Prometheus, I took a look at reviews of the recent biography of Robert Oppenheimer (American Prometheus) to see the differences in the way people tell a story second or third hand. What I found was enlightening. I saw that the reviewers skewed the story of Prometheus to fit their own ideas of Oppenheimer. With these articles, the Wall Street Journal plays up the fact that Siegel's father died soon after a robbery to imply that Superman was created as a power fantasy of a fatherless teenage boy. Superman as an absent father, highlighting his role as a protector. The cleveland blog begins with references to Siegel as "lovesick," which highlights the love "triangle" with Lois Lane and, further, the fact that Siegel wanted people (especially girls) to look deeper than his nerdy exterior.



I found this same reading of Clark Kent being put forward by one of the people I interviewed at the Superman Celebration. Brian Morris, sometime contributor to TwoMorrows, saw Clark Kent as a challenge: Superman saying to the world see me for everything that I am, not just for my pledge to help you. Kent is a statement that we're all more complex, deep, and interesting that the surface would indicate.



Other interpretations abound, of course. Here's an article by Richard Roeper that includes a transcript of David Carradine's monologue about Superman from Kill Bill (the beginning is about parking meters, but it's in there, I assure you).



"Now, a staple of the superhero mythology is there's the superhero and the alter ego. Batman is actually Bruce Wayne, Spider-Man is actually Peter Parker. When that character wakes up in the morning, he's Peter Parker. He has to put on a costume to become Spider-Man.
"Superman didn't become Superman, Superman was born Superman. When Superman wakes up in the morning, he's Superman. His alter ego is Clark Kent. His outfit with the big red 'S'. . . those are his clothes. What Kent wears -- the glasses, the business suit -- THAT'S the costume Superman wears.
"Clark Kent is how Superman views us. And what are the characteristics of Clark Kent? He's weak, he's unsure of himself, he's a coward. Clark Kent is Superman's critique on the whole human race."