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Film Editorials, Movies

The Legacy of a Revolution

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Remember, remember…the 5th of November. One of the most famous quotes from this story. It has practically become married to the story of a masked man looking to incite a country-wide revolt. Alan Moore wrote the original story between 1982 and 1985 in the UK, later being brought over to the US closer to the end of the decade. An appropriate time as the story is about both ending and beginning. Centered around a man simply known as V, he plans a big attack against the fascist government that has long since taken over Great Britain. Although, even though V is the most famous character, it’s really about the people around him that are the focus. Those that are looking to capture/kill him and the few who might be considered allies. It’s a great story, but this story serves as an example of how an adaptation of a comic – when done correctly – can immortalize it.

Don’t misinterpret what I say, the original comic is an impressive one. And I’m not saying the movie is in any way better. There is validity in the argument that is chooses to depict the same themes differently and executes it’s message in a different way, which can turn fans of the original away. But the way that the story is adapted and shown to a much wider audience, at the time it came out, puts this version of the story in a unique position. The movie was criticized by Moore himself that several of the changes made appeared to make it American-centric. And while there is truth in that, those changes play a role in making this a timeless in a certain way. A lot of the changes made to the movie are said to focus on the Bush administration during the 2000s. But looking back on the movie in the 2020s, those changes can be easily applied to a similar administration at any time in the modern age. Just because certain issues got their first major exposure during a certain time doesn’t mean they can’t continue to appear years later.

But I want to take the time to focus on a certain set of changes that have become significantly relevant. Moore’s original story was one about Fascism versus Anarchism. Not meant to sway people to one side or the other. But to show the ideas in context of events that share similarities to some real world events that have recurred throughout history. The movie can be described as one about Liberalism versus Neo-conservatism. But despite how Moore says that taking out mentions of Anarchy hurt the story, that doesn’t mean this version isn’t about extremes. Both sides go to great lengths to advance their own agenda, creating collateral in their wake. Sure, V in the original story is more ruthless and willing to kill everyone who gets in his way, he still kidnaps and holds his closest ally in a cell for an extended period of time. Not unlike how some criminal groups might try and brainwash someone to join them.

But that criticism about switching out the political ideologies is based on a flawed assumption – that they are mutually exclusive. The Conservatives of the modern era are very willing to enforce Fascist-like policies and enforce them in similar manners. The behaviors of many politicians from that side can be described as cartoonish or surreal. Like there is no way that a real person would say that or do that, yet they just did. And while it can be argued that the government is made up of more realistically depicted people, real life has shown that people can be as direct and black & white as the government in the movie version and still retain power. You can also argue that Liberalism in the modern era is playing around with ideas and strategies not that far removed from Anarchy. Mainly methods that propose eliminating or getting rid of institutions and laws that they see as being harmful and destructive. It may not be the same as the way V embodies Anarchy in the comic. But there are still calls to completely dismantle the current systems in power being cried out in the real world that I’m sure V can get behind.

As previously mentioned, V is a much more aggressive character in the original comic. And that was deliberately done by Moore to present ideologies that are both extreme. That doesn’t mean V isn’t any less extreme or violent in the movie. But the important difference between the two versions is that the movie version allows him to hold onto a sense of humanity. I’ve already talked a bit how the criticisms made about the movie have seemingly been more rooted in real life than we thought possible. At least, in terms of how people working in and enforcing the rule of a corrupt government talk and behave. While those who protest against these kind of politicians in the real world certainly support complete dismantlement of something, their motivations are based in wanting to be kinder to their fellow people. Both versions of this story put the blame on the general public for sitting back and allowing these kinds of corrupt governments come into power. But the movie pushes us to make the decisions to act. And that’s where the legacy of this story can be directly attributed to the movie.

The Guy Fawkes mask has become a worldwide symbol of rebellion for people looking to fight back and expose the dark secrets of the corrupted people in power. It’s true that a lot of what has been discussed in this post can be directly attributed to American politics, the characteristics of a corrupt government don’t care for borders or boundaries. There are governments all across the world that are undoubtedly similar. This movie serves as a reminder to always fight for what’s right. And sometimes the extreme is necessary. But it must be done with the intention of wanting to improve the lives of your fellow citizens. Destruction for it’s own sake will ultimately be meaningless. The original comic is a great story, but it serves as an example of how anyone can decide to simply fight against something. The movie, on the other hand, pushes us to fight for a higher ideal. To fight in support of something. And that is the true legacy of this story.

Comics

Is Archie Horror A Success?

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You are probably familiar to some extent with what Archie Comics is typically like. Archie and his friends in Riverdale getting into comedic, almost sitcom-like scenarios for some casual fun and shenanigans. They can be fun and cute. But…what if they wanted to tell darker stories with these characters? Do some scary stories that haunt the reader and put the characters in real danger. Well, a lot of people over at Archie Comics were probably thinking just that, because in 2015 they launched the Archie Horror imprint. Basically their version of DC’s Vertigo or the Marvel MAX imprints, the stories published under Archie Horror will tell darker stories outside of the main universe. And it has gone on to print it’s fair share of titles. Some of them I’ve already covered in separate pieces, but let’s just go over the main highlights.

The first official story from this imprint is Afterlife with Archie. It begins with Jughead’s dog being run over, the grieving boy going to Sabrina for a spell to bring him back. She does just that, but the spell goes wrong and soon zombies descend on Riverdale. It became a very well-liked story and inspired the company to go ahead with another title called Chilling Adventures of Sabrina. Taking place during the 1960s, we follow Sabrina Spellman as she starts to become a true witch and the chaos that brings into her life. Both of these titles technically began before the official creation of the imprint, but these are referred to as the first to come from Archie Horror and are probably the most famous titles. And both of them are very enjoyable, with dark atmosphere oozing from every panel.

There is one story that technically wasn’t published under the imprint but I will argue belongs under it – Archie vs Predator. I’ve already talked about this story and it’s sequel in their own posts, so check them out for more details. But both of these stories focus on the characters being forced to confront a creature that brings an unprecedented amount of carnage and destruction to their world. Worlds collide, characters die, and nothing was ever the same. Two great mini-series that brought a lot of entertainment and a fair sense of genuine drama and heart. Mini-series are kind of specialty of the imprint, another example of that being Blossoms 666, which I also covered in a separate piece. That one is admittedly not as great as some of the other mentioned titles. But it’s still an enjoyable read of the Blossom children feuding over who gets to be the Anti-Christ.

But let’s get to the longest running titles from the Imprint. First, there is Jughead: The Hunger. Originally just a one-shot, it quickly became an ongoing title. Jughead is revealed to be a werewolf, the newest member of the Jones family to become one. But it turns out Betty’s family has a long history of hunting the Jones family and werewolves in general. There is some genuine drama between Jughead, Archie, and Betty who starts off as an enemy but slowly becomes an ally. The second longest running title is Vampironica. The story starts off with Veronica seemingly being turned into a vampire and now must work with her friends to stop an evil blood-sucker from turning the entire town. But it later turns out that the Lodge family is the most powerful vampire family in America, creating inner conflict for Veronica as she must go head-to-head with one of her ancestors later on. Both of these stories actually had a crossover mini-series. It was advertised as versus story, but that isn’t entirely accurate to what actually happens. However, it was still great to see characters from two different yet similar worlds interact.

These are the most well-known titles to come from the imprint. But now we must ask the question. Has Archie Horror been successful. Well…yes and no. A number of these titles will go on to have influence on the comic book company in general. The TV show Riverdale has an atmosphere that does closely resemble the atmosphere in several of the imprint’s titles. And the Chilling Adventures of Sabrina title got it’s own show. But it’s difficult to determine if the imprint has long-term success. The previous mentioned Sabrina series is about to have a second trade released, but it will only contain 3 issues as opposed to 5 issues in the first trade. This is due to the release of future installments being repeatedly delayed. While Afterlife with Archie was turned into an ongoing title, it’s still advertised as a graphic novel with just the one trade collection. There are additional comic issues but there isn’t a widely available trade collecting these issues and it also has faced repeated delays.

And as mentioned earlier, the title mainly focuses on mini-series. While Jughead: The Hunger & Vampironica have been the longest running titles, there hasn’t been any recent follow up with the characters. The Jughead title came to a pause after the crossover with Vampironica. And while the young Lodge vampire did continue for a little while after said crossover, it also came to a pause despite clearly setting up for more stories. I think I heard there is a one-shot that will focus on the Jughead: The Hunger characters, that isn’t the continuation a lot of fans wants. The imprint does struggle with keeping to a schedule and maintaining their popular titles. Part of this can be explained by writes & creators being involved with TV shows and other projects. But the imprint should realize that it needs to commit to publishing trades of their stories to keep interest in their brand.

Despite these issues facing the imprint, all of these titles are worth checking out. The Season of Evil never ends for Archie Horror. Pick up one of currently accessible trades and read what they have to offer. The imprint has such sights to show you!

Comics

A Look Back on Guardian Devil

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The 1990s could have been better to Daredevil. Not to say that there was some good work with the character, but there was a noticeable decline. Daredevil was considered one of the less popular characters during the majority of the decade. But then, Marvel decided to create the Marvel Knights imprint to focus on breathing new life to a handful of characters. With art by Joe Quesada and the story from Kevin Smith – yes, the same guy behind movies like Clerks & Chasing Amy – Daredevil was brought back into the spotlight. “Guardian Devil” made people care about the character again. But now that so much time has passed, is it worth reading?

Here is a brief breakdown of the story. It starts with Karen leaving Matt a letter. She decided to take a job on the west coast. Shortly afterwards, a young girl comes to Matt with a baby she gave birth to despite claiming she is a virgin. But a mysterious man behind an unknown organization is also after the child. While the mother claims that her child is destined by God to be Earth’s savior, the man claims that the child is the Anti-Christ. Matt is left paranoid and conflicted on what to do and his mental state begins to deteriorate. That is the non-spoiler version, so from this point on, you’ve been warned.

Let’s start easy with the art. It’s decent. Honestly, there isn’t much else to say beyond that. I’m familiar with some 90s artwork so I know it was better than some other titles from the industry. But ti isn’t really special compared to today’s artwork. It’s for the best that we don’t spend too much time on the artwork. Kevin Smith is a good writer, but when it comes to comic books, he is known to often make controversial decisions. And we’ll get to that shortly. But I do want to address some of the strong points as well.

By the final issue, it is revealed that the super-villain behind this whole affair is Mysterio AKA Quentin Beck. This is a genuine surprise, considering he’s often associated with Spider-Man. It’s revealed that Mysterio has Cancer and since that diagnosis, he’s been working on what he calls his swan song. Researching Daredevil/Matt, manipulating people to set-up the story and use his expertise in special effects to help sell the lie. All to mentally torture Matt and force him to kill Mysterio. Yet when the moment finally comes, Matt doesn’t do it. He criticizes him for never coming up with his own plans, getting his scheme ideas from other villains. This leads Mysterio to take his own life. You could make an argument, that based on how the scene plays out, Matt could be at fault for basically talking Mysterio into such an act. But once you realize just how much destruction he brought down on Matt, his friends, and so many other people, we can let Matt use the Batman Begins loophole of not actively saving the villain.

That actually ties into one of the larger themes of the story. Part of the focus is on Matt’s faith and how he often struggles with it. There are parts of the story where Matt does come off a bit as being extra broody. But other characters do point out to him the silver lining of events and what he does in general. And those facts do help ground Matt and make him realize what’s important and why what he does is needed. This could be seen as the story subtly undoing the 90s mindset of how dark superheroes should be. But instead of making fun of how extreme those tropes can get, it points out the reasons why heroes are heroes in the first place. It helps reconnect Matt with his sense of purpose.

But going back to the dark stuff, there are a couple of things in the story that haven’t really aged well. And unfortunately, both center around Karen Page. She does end up returning to Matt during the story. But during a scene at a church where Bullseye goes on a killing spree, Karen jumps in to protect Matt and is dealt a death blow. Pretty much turning this into a “fridging the girl” trope. In addition to the death of such an important character, she discovers she is HIV positive and during an argument with her, Matt blames that on her being a junkie and sleeping with “God only knows who and how many people” in his words. Yea…this is a character that Matt has loved and been in a relationship with for years. And he tells her that she and her reckless behavior are to blame for getting the disease.

This in isolation is bad! Even looking at it from the context that Matt is being mentally tortured and manipulated doesn’t really make it better. Also…this does point out a serious issue in their relationship. Karen’s letter to Matt back in the first issue highlights how she is always going to feel indebted to Matt. Keep in mind, she did sell Daredevil’s identity for a fix. And he forgave her for that, yes. But he doesn’t forget that kind of thing. So Karen always feels like their relationship is based on him letting her back into his life. That he is more in love with the idea their relationship can triumph over any problem, including the ones she causes. They were constantly breaking up and getting together, each time showing their relationship is pretty toxic and destructive.

To this story’s credit, this part of the story is indirectly called out. Black Widow has shows up throughout the story but has an important conversation with Matt in the final issue. She points out to him that he seems to harbor an unconscious hatred for women in his life. His mother left when he was a kid, Karen sold out his secret identity, Typhoid Mary dated him only to get close and attack him. These are just a few instances of Daredevil’s troubled love life. This doesn’t really excuse what he said, but he is pushed to try and do some soul searching. But since this is the closest we get to him being called out for that statement, that problematic moment still has a sour tone to it. But is it enough to ruin the entire story? Speaking for myself, no. I’ve seen comics handle the HIV/AIDS topic far worse from this same time period. At least Matt’s attitude is called out to a certain extent.

With that out of the way, I do enjoy this story despite the major flaws. Although this isn’t a story that I want to have a physical copy of. But I can understand if a group of people have ended up hating how this story aged. Reading it once is probably enough for those looking to get caught up on Daredevil comics. But they should read the other comics from Daredevil’s second volume for a treasure trove of stories. And I think that’s the best praise I can give “Guardian Devil”. Good enough for the time to lead to other beloved stories featuring the Devil of Hell’s Kitchen.

Comics

Archie vs Predator II – The More Bizarre Sequel

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It’s not uncommon for different comic book companies to have multiple crossovers. Hell, Batman and TMNT have had three crossovers. But to give “Archie vs Predator” a sequel seems like an odd choice. The original story left the town destroyed and only three survivors – Betty, Veronica, and the teen Predator now physically transformed to look like Archie. It doesn’t seem like there is anywhere left to go after an intense ending like that. But it turns out there is one path. Make it bigger but even more insane than first by doing whatever you want.

Right from the first page of this story, you know your in for a wild ride. Because both Betty & Veronica break the Fourth Wall and speak to the reader! To be fair, I’m not a regular Archie Comics reader. And I don’t really read the main series. But this is the first time I’ve heard of any Archie comic turn full Deadpool like this. But shortly after that, they actually introduce an idea that’s actually kind of cool & clever. Apparently, the characters of Riverdale just have to walk down Memory Lane – an actual street in their town – and it resets the town and the residents back to normal. There are details later on in the story that make me question how much they actually do that and how that actually works. As well as question if that’s always been a thing. But it for sure was utilized in the story “Archie Marries Veronica/Archie Marries Betty” about a decade before this story. And it does help a long-running comic series like Archie maintain the status quo while still keeping a bunch of random events canon to varying degrees.

But when they try to do that, it turns out the road is closed. And they immediately recognize this as them being canceled. So…there is one thing to note about the original “Archie vs Predator” story. Around the time it was being published, Archie Comics was planning a relaunch of their Archie title. Restart from the beginning and have a modern take on their characters. And when the last issue of “Archie vs Predator” came out, the first issue of their relaunch came out roughly within the same month. You can quite literally say that the original crossover killed off the Classic Archie Universe. But there is good news – all three of them get in a car and find themselves in the new modern Riverdale with their modern counterparts! We have straight up entered the multiverse within the first issue of this story!

And when I say their other counterparts are modern, I mean that their actual modern title has them more grounded as well. They have no experiences with the supernatural, aliens, or anything like that. And when you hear the stuff that Classic Betty & Veronica – including summoning THE DEVIL! – it does make them come off as crazy and over the top. But the modern counterparts to agree to help them figure out what is going on. That is, until a bunch of other Predators show up with their dogs to attack everyone at the Halloween Dance.

Time to tackle the Predator aspect of the comic. Our teen Predator spends the time in Classic Archie’s body, but it’s not the Predator’s head on top. Probably due to the skin breaking off due to the shape and size of the Predator’s natural head. In the original story, the comic would occasionally give him text balloons that only had emojis in it. It was a neat way of getting across the gist of what he is trying to communicate. This is utilized a bit more in the sequel and it does flesh him out a bit more. Doesn’t make him the most complex character, but adds a bit extra to him. The other Predators in this comic are great. But there is one flaw that is hard to overlook. In this comic, the art is more in line with the art used for the modern Archie Comics. Specifically, more in line with what you might get from the Archie Horror imprint. It works for the most part. But the art does make it hard to tell what species these other Predators are. Since our main Predator is a teen, these could just be older members of his race. But since they have their dogs, these also could be the Super Predators as seen in the movies “Predators” & “The Predator”. The art doesn’t do a great job of clarifying that for the readers, but I think they are supposed to be the Super Predators and I’ll explain why later.

Classic Betty & Veronica are trying to figure out how to help. They start trying to text people they used to know back in their universe to see if any made it. And that includes Frank AKA THE PUNISHER! You see why I question how often they use their walking down Memory Lane trick or how it works? It befuddles me why Frank would want to stay in touch with a bunch of teens in a town from a different comic book company. But that’s not the most surprising thing that occurs with our main ladies. As they are hiding from the Super Predators during their Halloween Dance massacre, there is a moment that actually took me by surprise. Classic Veronica saves Classic Betty’s life and admits to how she probably wouldn’t have saved their Archie in the same way. But then Betty gets Veronica to admit that Archie hasn’t actually been her romantic focus in years. And then Betty brings Veronica in for an embrace and kisses her forehead. From the way it is drawn in the comic – combined with a couple of other moments of interactions later on in the story – this is confirmation that Classic Betty & Veronica are attracted to each other.

I feel like this could have been a divisive moment depending on what kind of Archie Comics fan you are. The brand and title have historically been defined by the love triangle of Archie, Betty & Veronica. And while certain writers might have slipped in a joke that generally links this kind of romance between the ladies, I’m not aware of anything significant to support the theory that the two are non-heterosexual. And there is something more unique about having two girls with a strong bond like Betty & Veronica’s be strictly platonic. But…there is a strong argument for how the two of them always fighting each other yet still be friendly did lay the seeds for a realization for the two girls. And they are teenagers, which means they probably didn’t even realize who they really are in that sense quite yet. Speaking for myself, I’m fully behind this relationship pairing. Even if it is for just this story that – unlike it’s predecessor – isn’t technically canon. At least for the more modern version of the Archie title.

Anyway, while all the modern Riverdale counterparts are fighting for their lives, Classic Betty & Veronica try summoning the Devil. And he arrives and recognizes them from their own universe! Although I think in the Classic Archie-Verse, he’s referred to as Mr. Inferno. As they helplessly watch the final explosion happen with their teen Predator friend who survived, Veronica & even Betty talk about how much this miss their old home and how these modern versions might even be better than them. Mr Inferno surprisingly enough actually gives them genuine advice. He tells them they should stop being stuck in the past, trying to reclaim their glory days, and move on to new adventures. Turn into the Betty & Veronica they can truly be. And with that, Mr. Inferno resets the Modern Archie-Verse back to normal, erasing the events of the comic for them. But Classic Betty & Veronica, along with their Predator friend, are adults living in New York. And the two ladies admit that they don’t miss being eternal teenagers.

This is definitely not what I was expecting for “Archie vs Predator II”. With all the references to past events in Classic Archie and they way it’s presented, it kind of has the vibe of a Grant Morrison story. The writer of both of these crossovers, Alex de Campi, admits to how she kind of became a bit meaner & cynical in between the two crossovers. She’s a fan of the Classic Archie title and the bizarre things that happened in their continuity. But to try and do a similar yet different story that involved the more modern version was a tough thing to figure out. So she essentially turned it into a love letter to the Classic Archie-Verse. As well as tell a meta-story about growing up and finding your place in the world. This is why I think the Super Predators were used in this story. Even though the Predator films never went through a full on reboot/remake, the Super Predators were introduced in recent years and could be seen as the studio finding a way to reboot the idea and creatures. So the teen Predator fighting back against them can be seen as the original version of the creature as we know it still maintaining it’s status and fighting back against being changed to that degree.

But the commentary about growing up despite drastic changes is stronger in regards to Betty & Veronica. Which makes this story surprisingly have a lot of depth. From the first which was a surreal and delightfully twisted slasher story to this story, a bizarre multiversal coming of age story about growing up and being more sure of yourself. Again, not what I was expecting at all. But I’ll admit that this is far better than it had any right to be.

Comics

The Predator Hunts…Archie?!

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Archie Comics has had a number of crossovers featuring their title character. Archie has met The Ramones, TMNT, Glee, The Punisher…just to name a few. And recent years have shown the company isn’t afraid to get more experimental when it comes to their characters. And thankfully, that applies to their crossovers. But even though Frank Castle traveled to Riverdale, I don’t think anyone was expecting this to actually materialize. Friends, allow me to tell about the time Archie and his friends went up against…The Predator.

First things first – yes, it did take me until after I finished the comic to realize this comic can be spelled as AVP. I’m not mad, the first AVP film is underrated. But enough about that. It is truly bizarre that Dark Horse Comics (who owned the comic right to the Predator franchise at the time) was willing to do this. But one thing that took advantage of that shock was the art work. The style used is very much the traditional style utilized for Archie and his crew. This cleverly lulls you into a false sense of security and familiarity. Even when the hunter begins killing people in the first 2 issues of the 4 issue mini-series, it still feels like that somehow our main characters are going to come out of this okay.

Speaking of which, let’s talk about the characters. Even though the title is “Archie vs Predator”, our main human focus is on Betty & Veronica. Although slightly more on Betty because the Predator turns out to have a crush on her. Yes, seriously. The comic points out that this specific hunter is a teenage version of the average Predator. And they are able to establish that because apparently they have been coming to Archie’s Earth for years and the government knew they existed. Now I’m developing a theory about how this comic takes place in the same continuity as the Predator movies. Anyway, Betty actually does get several moments to shine in a weirdly darkly comedic way. Veronica is more of a supporting character in a few scenes because of that. But she makes contributions to the story, both good and bad. Bad in the sense that she got Jughead to dress up like her in an attempt to lure out the Predator as part of a trap. That did not work. Side note – the teen Predator also has a crush on Veronica.

But let’s actually get to the other person mentioned in the title – Archie. The ginger does try and take some sort of leadership as the conflict reveals itself and begins to escalate. He goes up against the alien a couple of times over the course of the series. But unfortunately…he’s killed. Yea, the Predator actually wins the title fight and survives to the end. There was an Afterword in my copy that talked about how the team were uncertain if they should kill off Archie, for fear it would seem repetitive of the then recent “Death of Archie” story. But they ultimately decided that as long as he wasn’t shot, no one would really mind. And I have to hand it to them, I didn’t think that would actually happen. Archie is killed off along with most of Riverdale and the recognizable characters.

That is except for Betty & Veronica. They do in fact survive due to the teen hunter’s surprise affection for them. And after he does help them escape an explosion, it seems only fair to thank him…as well as get a little payback. So Betty uses an advanced medical room that Veronica’s father has to not just heal the Predator’s wounds, but also TURN THE PREDATOR INTO ARCHIE! Remember how I mentioned Betty has a handful of darkly comedic moments in the comic? Turns out that’s because she is secretly unhinged! But I guess that’s predictable when you spend decades in a love triangle with two of your closest friends. That surprise is certainly insane but also manages to fit into the surreal tone and fun experienced throughout the mini-series.

Is there anything worth criticizing? If I’m going to be nit-picky…there are a couple of things. A character named Dilton has this weird speech about how he’s been jealous of the attention Archie always gets from women and how he’s the only one of the friend group that never seems to ever date or be asked out. And that leads him to reveal a robot suit he made in his free time where the head is a replica of Archie’s. It’s weird and bizarre but more in a something is off and goes against the story kind of way. And Sabrina Spellman has a small role in one of the issues. The way the comic portrays her is weird. I think they were going for a version where she comes off as a weird and disturbing goth girl. But it didn’t feel at place in this specific story.

But putting that aside, this is highly enjoyable! There is plenty of blood and violence to satisfy any Predator fan. Seeing Archie and the gang try and be action heroes is certainly enjoyable for Archie fans to see. And the ending is so delightfully twisted! Please seek out and read this comic.

TV

An Analysis of Netflix’s The Sandman

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Neil Gaiman’s “The Sandman” is a comics masterpiece. It was one of the titles that defined the tone and purpose of DC’s Vertigo imprint for mature readers. It explored fascinating ideas and introduced to complex characters in ways that mainstream comics back in the late 80s to mid 90s simply didn’t. Ever since the series ran it’s course, Hollywood has been trying for decades to find a way to adapt it. Different scripts for movies and mini-series have come and gone. But now it has found a home on the Netflix streaming service. And now is also the time to see if this was worth it.

But first, something that should be addressed. When it comes to any kind of adaptations, people talk about it almost as if being adapted is some sort of validation. Regardless if the story originated from comics or books or if it’s just a transfer from a different entertainment medium (you remember the nightmare fuel that is “Cats”?), there are people who think a story isn’t truly recognized as being great until Hollywood adapts it. A similar feeling can be said about how people view live-actions movies and shows as opposed to animated versions. But I want to set the record straight – regardless of how this show turned out or how you feel about it, the original comic has been and will always be amazing. This story – or any story from any other medium for that matter – doesn’t need Hollywood’s interest in order to be recognized as such. But since this entire post is supposed to be about said adaptation, let’s focus on that.

Something you should know is that the pacing of the show and how it approaches telling it’s first season isn’t quite the same as the average show. It tells it very much like how a comic book series would tell it. Let me try and explain it better. Take a look at “Stranger Things” – season 1 introduced a mystery and threat that was resolved by the end of the season. We followed a certain set of characters throughout the entire season. And the finale left us with a cliffhanger for things that might come in the next season. And the same can be said for all the other season installments. This isn’t the same mode that “The Sandman” uses. For the first 5 episodes, there is a certain set of characters we follow. But by then end of those 5 episodes, most of them are gone from the show. After a standalone story in episode 6, the remaining 4 focus on a new set of characters. The main one of this set being briefly introduced in episode 5 but not really a part of that episode’s story. While the finale does sort of leave us with a more traditional season finale tease in one aspect, the vast majority of the season does have a different pace than what people might be expecting.

This can be explained by the fact that season 1 actually adapts the first 2 volumes of the 10 volume series. That at first seems like a lot to pack in 10 episodes where none of them go above an hour. But then you realize that if they had just stuck to volume 1, the show would be facing criticism of dragging out and padding story-lines that didn’t need it. So in reality, this approach not only stays true to the pacing and method of the original comics, but also keeps the show more focused. Many people have said that the second half of the season is better than the first half. While that is technically true, that doesn’t mean the first half is bad by any means. It’s just that the opening story-line is one so many Sandman comics fans are familiar with. And it follows the same general main character plot that can be found in numerous other stories. It’s really just an issue of the first half being so familiar and the second half focusing on material people probably would never think they would see adapted.

So now we get into the actual meat of the show. How faithful is it? Does it do the original material justice? All those questions fans of the original version will have. And if you ask me…the show is pretty damn good. The tone is very similar to the original comics, one that deals with oftentimes dark themes but approached in a mature fashion. The performances from all the characters are well done. Dream of The Endless is portrayed in a way that is remarkably similar to the comics. He may not show much visible expression, but when it does show, you can tell that it is important. And you can also pick up on the way he moves and talks and see how his mood changes based on that. And the rest of the characters are portrayed as having a fair amount of complexity to them. Even several of the antagonists of the show have a couple more layers to them than you might give them credit for.

Now, as with all other adaptations, there are bound to be some changes. But the vast majority of said changes are really nit-picky in the grand scheme of things. And keep in mind, changes regarding how certain characters appear in the show aren’t really an issue. Lucifer, Death and other similar supernatural entities like them aren’t characters that stick to certain physical attributes and characteristics. Any criticism regarding those changes just aren’t a big deal. Most of the changes in the show are done in order to keep it separate from all other DC projects going on in Hollywood. There are still various easter eggs and vague references that comic fans will pick up on. But the reason why certain actors weren’t cast or why certain character backstories are altered is to make sure newcomers can more easily watch the show. And perhaps they will be encouraged to check out the original comics and start down a rabbit hole for themselves in DC lore.

Having said that, I did pick up on two major changes that are worth addressing. One is the character of Johanna Constantine. Back when this character was cast, it was believed it was a gender-swapped version of the character John Constantine. Is this true? Well…no and yes. No because Johanna Constantine is a separate character. She is John’s ancestor and has her own encounter with Dream in the late 18th Century. And that story is shown in the first season. But I also say yes because the actress who plays Johanna Constantine in the late 18th Century also plays a different Johanna in the modern day who is a descendant. She joins Dream during a mission in episode 3 that in the comics was fulfilled by John Constantine. The most likely reason for this is, again, to keep this project separate from other projects that have included the character John Constantine. And considering the changes Warner Brothers studio is going through, is probably for the best. But the decision to have one actress play two different characters that have the both first and last name is a curious choice. The actress does a fine job, but I do wonder why they didn’t decide to come up with a different first name for the modern Constantine and have a different actress portray them. But since the actress does a good job, it isn’t a question that bugs me.

The other major change worth addressing if the nightmare Gault. She is responsible for a conflict that was originally fulfilled by two different nightmares and their motivations were rooted in desire for power. But her motivation in the show actually touches on a major theme of both the comics and the show – change. I won’t go into too much detail since the show just released at the time of this being written. But it does connect to how so much how has happened between the first and final episode. And the desire from several characters to see things change for the better. This is something that Dream ultimately recognizes and even admits that he can’t be the same as he once was. It is rather a nice way for the season to bookend his character development.

This character and story didn’t need to be adapted to prove it is a wonderful story. But the fact that it is as good as it is shows how much respect the story has from so many people. Fans of the comics should find a lot to enjoy with the show. And if you haven’t read the comics, I’m willing to bet this will still get them engaged. The original comics talked a bit about the power stories have on people. And this different yet very faithful version shows just how never-ending this particular story is.

Comics

The Bizarre Meta Issue from Spawn’s Early Days

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It’s hard to predict what will become popular in the entertainment industry. There have been so many instances where studios tried using a movie to launch a franchise…only for it to die before it even got a chance. And then there are the movies and shows that became popular out of nowhere – or despite the obstacles they had to overcome. The same can be applied to the comic book industry. At the time, I imagine only Todd McFarlane believed that Spawn would have lasted this long and continues to go strong. But that doesn’t mean he kept that to himself. He let his belief become public knowledge in the tenth issue, released back in May 1993.

In the previous issue, Al Simmons had his first fight with an angel named Angela. Spawn managed to lure Angela into a trap and defeated her. But she had left her lance in the New York alley. When Spawn went to grab it, he is seemingly transported to another place. And that is depicted in issue 10 and it gets a bit weird. The issue has these narration boxes coming from Al’s point of view. Only, it also isn’t his point of view? He’s both the Al/Spawn of his world but also the one of this alternate world too. I think the narration continuously confusing us about this is supposed to enhance a dream-like feeling of this other world. But it only makes it confusing on who exactly is supposed to be telling us what is going on.

Moving on though, Spawn goes out and finds this cave that turns out to be a prison. One one side of the wall, there are a bunch of unknown people with hands behind their back and bags covering their heads. On the other side is the actual prison. Out from the bars are this arms for all of these superheroes. None of them are actually referred to by their official names. But the way Spawn describes this group of heroes and the designs of these outstretched arms clearly indicate they are heroes from both Marvel & DC. There is even a figure that falls just sort of outright confirming it’s Superman, but referred to as “He-Who-Came-First”. They all give Spawn their power so that he can try to free them…only to fail. Oh, and we also see a female version of Violator wearing a dress made of money. Not much else to say about that.

This also counts as a crossover because this character named Cerebus arrives in this issue. I’ve never read any of Cerebus’s comics so I don’t know enough about him to give an opinion about the character. But he explains to Spawn this is a world where superheroes have been sold by their creators. That is, with the exception of this world’s Spawn. Cerebus takes Al to a home that belongs to him and to this world’s Cyan. It ends on this bittersweet moment where Al goes downstairs holding his child to greet his – or this world’s – Wanda.

So…there are a couple of ways to view this issue. Let’s look at it as if it’s 1993 and this just came out. It must have taken big brass balls to release an issue like this – and for a series that’s still technically within it’s first year of publishing! But this actually does connect to why Image Comics was created in the first place. There were artists in the comic industry that were frustrated with how they were treated by the two big companies and how their work was owned by them and not by the creators. You could read this entire issue as a big middle finger to DC & Marvel. Doesn’t necessarily excuse the awkward writing, especially with confusing narration. But I’ll grant that this was written with courage.

Now, let’s view this from the modern era. And I have to say that this is…an amusing issue. Still has flaws when it comes to the writing. But it does read differently given everything that has happened with Spawn in recent years. Spawn has run for over 300 issues, even earning the title of longest-running creator owned comic book series. It has now launched 3 new titles in an effort to created a shared universe. And the first issue of each of those titles has broken different sales records. This is no small feat for this industry, where the two leading companies are constantly restarting series with new number one issues and struggling to maintain a consistent direction for any number of books.

This issue is by far the most meta Spawn has ever been. But it came out at an awkward time. Not only was the writing for a lot of comic books at the time – especially from Image – awkward, but it was for a comic that had yet to prove any staying power. Yet in time, it has actually become something of a prophetic story for the character. I’m not going to act that the Spawn title has been perfect for it’s entire history. I’ve had some issues with it from time to time. But I find myself still connected to this character and world. And that’s most likely because Spawn’s creator still owns him and is passionate about him. Cheers to whatever lies ahead! Just make sure the writing doesn’t get as awkward like it was in this old issue and you should be fine.

TV

My Thoughts on All Members of The Umbrella Academy (Seasons 1 – 3)

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I really want to talk about this show. And I feel the best way to do that is by talking about the main characters and looking on their growth. Let’s be honest, the overall stories for each season is roughly the same. There is an abstract threat that will cause the apocalypse as well as a more physical threat somehow connected. That part of this show isn’t as important as the characters. As well as the trauma they are trying to resolve and their efforts to become better people. With that in mind, I wanted to air out my thoughts on all members of team.

I want to start with Luther & Diego. Because they actually do have a few things in common. Both have been driven by a subconscious need to seek their father’s approval. That usually means both end up focused on the mission at hand. Which often results in them making decisions without the input of their other family members and can cause more harm than good. But with Diego, I ended up really hating him when the third season came around. He is constantly trying to fight everyone and everything he deems a problem without considering any other way to handle the situation. He is focused on being a vigilante first and foremost. I will grant that at the end of the third season he does have something to fight for besides simply being in charge. But that doesn’t cancel out that is often at odds with what his other family members are doing to try and resolve their bigger problems.

Luther on the other hand doesn’t go that far. Yes, being a team is important to him. But he is more concerned about fitting in and actually being a part of the family. There is one point in season 3 where he feels that they really aren’t a family, but rather people connected through shared trauma. And you can understand why he wants to keep everyone together in the beginning of the show and fit in. After he is mutated by their father, he just ended up being shipped off to the moon where he was utterly alone. His journey to try and feel a genuine emotional connection with his family is understandable. And yes, there were times at the beginning of the show where he makes wrong decisions that risk splitting them further apart. But he does show some level of regret and remorse. That’s why when he gets a relationship in season 3, I do feel happy for him. OK, it does start pretty much out of the blue. But by the end I have come to care for that relationship.

Let’s then move on to Klaus. Easily one of my favorites characters on the show. The main thing to understand about him is that he just wants a peaceful existence. While there might have been times early on in the show where he seems to enjoy some of the drama playing out, there are more instances where he is trying to stop things from escalating. He ultimately just wants everyone to get along and find their inner balance. I’m tempted to say he is the character probably most in tune with his emotions. But then again, he is a drug addict that tries to ignore his own trauma than confront it. Yet he still ends up putting in effort to try and grow and deal with his own issues. And he is perfectly willing to help his other family members with their own problems as well as help with the bigger issues facing their entire unit. He is a delightful character to watch on screen for the comedic moments but also for his own personal journey.

And now we move onto Allison, Five, & Viktor. This batch…is a lot more complicated. Let’s start with arguably the easiest to talk about, which is Five. Another one of my favorites, and that’s partly because he is technically an old grouchy man in the body of a young kid. Something about that just speaks to my own personality. Anyway, he spent decades alone at the end of the world until he was recruited to be a time traveling assassin. He is obviously the most experienced, disciplined, and focused member of the Umbrella Academy. He makes the most progress in dealing with the larger threats and coming up with plans to save the world on multiple occasions.

But he is also arrogant, mean to his other family members, doesn’t communicate with his family about what he’s doing – simply put, not the easiest to get along with. A lot of this can be explained by his past. He spent years and years alone in a post-apocalypse landscape. It would make sense why he would often not communicate with his family about what he’s doing. But as someone who ended up spending just as much time working under the thumb of an organization, you would think he would come to understand when communication is important from a strategy viewpoint. Five has spent so much time being alone and doing morally questionable things that his philosophy is often mixed and a bit contradictory. That latter part we’ll circle back to. But there is a little time spent in season 3 where he does seem to let the fact he is reunited with his family sink in. Where he is allowing himself to feel instead of using cold logic and thinking to deal with everything around him. Definitely one of the most sympathetic characters on the team.

But then there is Allison. Poor Allison…she started off as one of the most like-able characters on the team. But then the third season happened and the show put her through some harsh struggles. Granted, some of that struggle is a result of what she went through the first first couple of seasons. But the main issue she has to deal with is that she is in a new timeline where her daughter never existed. This is the main thing that drives her character arc throughout season three and it’s understandable. But it is also frustrating to see what happens to her and what she ends up doing. She is mean and more violent in the third season. Picking fights in the middle of the night, using her voice power to force Luther to almost have sex with him against his will. Meaning she tried to rape him. And when she found out that Harlan – who used to be a young boy that Viktor helped raise back in the 1960s in Dallas and accidentally gave powers to – was the person who killed the mothers of all the Umbrella Academy members…she killed him. And she would later admit that she didn’t feel better or worse afterwards. She didn’t feel a thing when it came to taking a human life.

Here is one of the things that can be frustrating about this show. It can be argued that this is a deconstruction of superheroes. Or that it really isn’t even about superheroes, but just a dysfunctional family trying to deal with shared trauma. And there is a case for that. This show is based on comics from Gerard Way, who was heavily influenced by Grant Morrison’s run on Doom Patrol. Gerard would even go on to write for Doom Patrol for a short while. But there are multiple times on the show where it makes clear that most – if not all – of the Umbrella Academy sees themselves as superheroes. There is a conversation between Five & Viktor towards the end of season 3 that I found a bit…wrong. This conversation follows the aftermath that Viktor was hiding the revelation about what Harlan did – on accident remind you – and lied about turning him over to the Sparrow Academy who would undoubtfully murder him in retaliation for him accidentally killing a couple of their members. Viktor lied about turning over Harlan so that he could try and take back the power he gave him. Even though this would complicate the larger issue of gaining access to the source of the Grandfather Apocalypse within the Sparrow Academy and figure out a way to save the world.

Anyway, the conversation between Viktor & Five feels off to me. While Five admits that they are all worried about Allison and what she did to Harlan – as well as the way she chewed out Viktor in front of them – he is more worried about Viktor. This is understandable because he did technically go against what the rest of the family agreed on and risked the end of the world. But there is a specific part of this conversation that I’m going to paraphrase here. Five defines a supervillain as a superhero who works alone and doesn’t listen to anyone. And while he hopes Viktor never becomes one, he won’t be afraid to kill him if it ever comes to it.

This…really gets to me. Five isn’t technically wrong with his supervillain definition. Yes, villains do often work alone and they often become villains because they are so convinced that their stance on something is the only way and refuses to compromise. But the tricky thing about this definition is context. These specific traits don’t always apply to supervillains. The way I see it is this – supervillains are driven by selfish needs. Sometimes a selfish need to prove themselves over everyone else. And they do it at the expense of innocent people. Not caring if they hurt or kill them. Viktor risked a lot when he went against his family’s plan in regards to Harlan. But he was driven by a need to save someone from certain death. Even trying to take back the thing that has been a burden on him for his entire life. And keep in mind, Harlan didn’t mean to cause any harm. He was someone who struggled to keep in control of his powers. He had no training unlike the Umbrella Academy and he held onto a lot of regret and guilt that were the result of his actions.

There is a lot of nuance around the topic of when is it OK to take a life. Certain situations such as protecting yourself and wartime are considered OK for that, even if it is at best a morally gray area. But superheroes are meant to save people no matter what. The phrase “there is always another way” can be overused in this context, but it’s the truth. And it can applied in this case where Viktor didn’t need to lie to his family. The entire team could have realized that there has to be a better way to deal with their situation that doesn’t involve someone like Harlan dying. And let’s not kid ourselves, the Sparrows would have happily killed Harlan. I also want to point out that despite the argument some of the Umbrella Academy make about how one life isn’t as important as saving the entire universe, there came a time when several of them ended up saying no to a plan that could reboot the universe and save everyone. Yea, some of those same Umbrella Academy members said no to that plan and elected to just let everything end. This is why superheroes aren’t nihilists, it makes them make dumb decisions like that!

I do know some of the arguments about why some of them decided not to go with that plan. Doesn’t really make it right but I know and understand them. Which is why when you realize what does happen to get them all to go through with the plan, it makes them look selfish. I’ll concede that Viktor is one of the people who passed on the plan, which doesn’t mean it was the right decision. I just want to point out that Five – the same guy who argued that saving one life isn’t as important as saving the entire universe – also passed on the plan to reboot the universe and brings billions back to life. The same guy who in that conversation with Viktor identified himself as one of the superheroes. An assassin who killed people, regardless of motivation, and doesn’t communicate with his team or even sometimes listen to what they have to say in case what they have to say could be important.

The point of that long rant is this. Allison has become a villain. And despite a last minute attempt at redemption, I still view her as a villain for what she did, how she felt about it, and the way she treated Viktor afterwards. And Five, despite wanting to stop apocalypses, shouldn’t really be classified as a hero either and that he was willing to go through with decisions that went against his view of himself as a hero. Which finally brings me to the final member of the Umbrella Academy, Viktor.

And it’s here we need to address something important. In between seasons 2 and 3, the actor who portrayed this character came out as transgender. The actor formerly known as the woman Ellen Page came out as a man and is now Elliot Page. The people behind the show were very supportive of him and even incorporated this into the show for his character because his character had previously been a woman named Vanya. While there were concerns about how the show would handle this transition, they ended handling it with a lot of care and respect. It is acknowledged and other members of the Umbrella Academy where supportive when their sibling came out to them within the show’s season. I can be nit picky about how I think two characters should have switched their reactions to the revelation, I will still give the show a lot of credit for how it was handled. And it does make sense for the fictional character’s journey. The seventh member of the Umbrella Academy had felt overlooked and ignored their entire life because it was believed they didn’t have any powers. And when it turned out they did, they were at first seen as a threat to take down instead of a family member to reach out and connect with. And when given a clean slate via time travel, they were able to discover who they were away from the trauma and family. Being transgender wasn’t the only trait of this character. But it is an important part. The show did a great job finding that right balance.

Even if this wasn’t a part of the character’s journey within the show, Viktor still is my favorite of the Umbrella Academy. The entire focus of his journey from the beginning was to connect with his family. Which speaks to a lot of the issues that the other Umbrella Academy members deal with. More often than not, they split up and end up dealing with their own issues and problems alone with no supports. But Viktor wanting to make amends for some things he has done in the past and want to help out his family with their own makes him the most sympathetic and kindest character. Even when he was apparently at risk of becoming a villain according to Five’s bulls*** logic in season 3, he refused to believe that any amount of death was justifiable for the greater good. Which is exactly the kind of mindset a true superhero should have. Yes, he has issues in previous seasons where he has unwittingly become an obstacle for his family to deal with. But it is clear that unlike Allison in season 3, Viktor feels regret and guilt and wants to do better.

And there you have it. All my thoughts on all of the Umbrella Academy members. I even ended up going over some plot points that should indicate how I feel about the show so far. There is nothing left but to hope that the Umbrella Academy finally resolves their issues and start to feel and act like a real family.

Comics

Harley Quinn & Poison Ivy Make Big Decisions

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We can all agree that “Heroes in Crisis” was hot trash. But unfortunately, we are forced to deal with the consequences of that story. One of those being the death & resurrection of Poison Ivy. This 6 issue mini-series follows her and Harley Quinn recovering from the events of that event and trying to find a way to move forward. But they find themselves wrapped up in a conflict, the results of resolving it will have major influence on the characters long afterwards.

One curious thing to note is that even though it stars both of them, Harley is the character with the most significant character journey. IN the beginning it is stated that she feels like being bad just isn’t worth it anymore. Sure, she hasn’t actually been a regular villain for some time. But she really only plays hero when she finds herself framed for a crime. The fact that a hero was behind the carnage in “Heroes in Crisis” was seen by her as a sign that the world is already broken and there is no joy in that. She genuinely wants to become a true hero. Ivy is still recovering from coming back in a body that seems mostly plant based now, a special gift from Lex Luthor seemingly helping her body stabilize. While she is herself unsure of what she wants moving forward, they are forced to play hero when the Floronic Man shows up.

The main conflict of the story is kicked off by Floro wanting to consume Ivy and take her power for his own. The two women do flee and find themselves on the run. But Jason Woodrue seemingly sends parts of himself to follow them wherever they go. Eventually, the two of them decide to go on the offensive until they finally make it to New York City to finish this. But it turns out, Woodrue isn’t the one that’s been tracking them. It was another copy of Poison Ivy! The special gift that Luthor gave Ivy ended up creating multiple versions of Ivy that were growing in the house they were originally hiding out in. But most of them burned in the fire during Woodrue’s confrontation. This was the only other version of Ivy that survived. And while the Ivy that was with Harley was supporting her in her efforts to be a hero, this Ivy is angry that she was abandoned and taunts Harley with this being another item on her list of failures and claiming that Harley doesn’t truly care about her. She just wants to fix her and turn her into the version Harley wants.

And it’s in this last issue where the majority of the character based developments occur. Harley has been focused on wanting to be a real hero. Of course she makes the occasional joke about it like hoping it comes with a good insurance plan or if she gets a business card. But it is fueled by a genuine desire to want to change and improve herself. The problem is that when Harley is passionate about doing something, she doesn’t always take into consideration the thoughts of the people that end being involved. Despite Ivy being pushed as an anti-hero in recent years – something that I personally actually encourage – Ivy still prioritizes her mission over everything else. She has stated this along similar lines in past comics to Harley. So her pulling Ivy into a cause like this right after Ivy has been resurrected and still recovering does feel like she is molding Ivy into something she hasn’t fully consented to.

But it isn’t intentional and it wasn’t with bad intentions. Harley still loves and cares for Ivy no matter what. That is what the Ivy that has been traveling with Harley throughout this story recognizes and protects during this final confrontation. This Ivy even suspects that the real reason this angry Ivy is attacking is because she is jealous of the moments and time that protagonist-Ivy had with Harley. Showing that no matter which Ivy we are dealing with, she also still loves Harley. The story ends with Harley crying as she drives off into the distance while the two Ivy’s merge and she figures out what she wants to do next.

Well…there is one more thing to talk about within the actual story. The two share a kiss in the finals pages of the comic. But it is Ivy kissing the forehead of Harley. On a splash page showing just those two. Meaning, it was presented like the two of them were supposed to kiss each other but it was changed for some reason. This got some backlash, questioning why the comic didn’t have the two properly kiss. And it’s not like they haven’t kissed in-universe before in past issues. The best reason I could pick up from it is that maybe Ivy couldn’t handle actually kissing Harley because she might end up not going through with merging with the other Ivy. But if that is close to the truth, then it was presented wrong. Don’t make it a splash page and have a bit more dialogue to set the mood as more somber.

Issues aside, this is still a fun read. And it has the two main characters make some decisions that will have some longterm consequences down the road. What happened to Harley? She would find herself back in Gotham City to help Batman during several conflicts, becoming an honorary member of the Bat Family. She got another solo title that explores her helping the regular citizens recover from trauma while being a crime fighter. As for Poison Ivy, that’s a bit more complicated. Despite merging at the end of this series, the times she would show up again for some reason reversed that action. Two versions of Poison Ivy cameoed in “The Swamp Thing”. The version that is more concerned with plant life above human life with seemingly no humanity left within her is referred to as Queen Ivy. Then in the pages of “Catwoman”, the softer and kinder Ivy shows up as she is rescued by Selina from custody. The two Ivy’s were reunited and merged together at the end of the Batman story “Fear State”. Where she and Harley had their proper kiss. If your a Harley and Ivy fan, this is still worth the read and I’m sure you’ll have fun while doing so.

Comics

The Gem that is First Thunder

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Going to make this declaration right now. I’m always going to refer to Billy Batson as Captain Marvel. I don’t care about Carol Danvers and Marvel Comics, Billy had the name first. Besides, it wasn’t until the New 52 that they stopped referring to Billy as Captain Marvel in-universe. And we can all agree that the New 52 was dumb. Anyway, this 4 issue story released in 2006 and depicted the first time that Superman and Captain Marvel worked together.

This story obviously takes place in the early days of the main DC Universe. Before Diana left Themyscira for Man’s World, before Batman had been operating for a full year in Gotham, the heroes of Metropolis & Fawcett City find themselves working together. I should note that back in the 90s, Billy had his own series called “The Power of Shazam!” which was a followup to a graphic novel with the same name. The graphic novel re-established an origin for Billy Batson as Captain Marvel which would remain until the New 52. I bring this up because in-universe at the time, there was a 4 year gap between the graphic novel and the beginning of the follow-up series. “First Thunder” actually does a great job of filling in the gap between the two and doesn’t contradict anything established in those projects.

But now let’s talk about the story itself. Billy is homeless and living in the subway, and there is a friend from school who occasionally visits him and knows about his superhero identity. Billy is still getting used to the unspoken costs that come with being a superhero, but that isn’t seen until later. Billy is still having fun with his magical powers and does some genuine good for his city. Superman ends up running into Captain Marvel when he follows a group of museum thieves who can conjure up magical monsters. The two team-up and work on the case together to figure out what’s going on. We get a scene where they are in the North Pole, assumingely near the Fortress of Solitude, and Captain Marvel is just asking Superman questions. Asking about his powers and other similar fan questions. But to his credit, he does just simply come across as a big fan of Superman, if slightly annoying. Still fun to see a more relaxed scene of two superheroes talking, even if is short.

We do get a few flashbacks to an even that happened some time before the beginning of this story. Captain Marvel stops what was secretly a scheme of Dr. Sivana’s to collect insurance money. So Sivana ends up reaching out to Lex Luthor in an effort to deal with Captain Marvel. The two bald men meet and their opinion of the other is exactly what you expect. But it is still cool to see these two similar yet very different villains interact. Their meeting resulted in Sivana getting in touch of a metahuman tracker to tail Captain Marvel and find out some information about the magical hero.

In the main story, they end up discovering what the plan is. The museum thieves are planning on creating a demonic equivalent of Captain Marvel while another magical villain – Eclipso – is unleashed in Fawcett City. While Captain Marvel fights his demonic equivalent named Sabbac, Superman must deal with Eclipso and the mind controlled people he sues to throw at the Kryptonian. Both heroes end up winning and congratulate the other. Superman goes back to Metropolis and Billy meets his friend in the subway to look at a newspaper talking about Captain Marvel. However, the third issue ends with the two of them being ambushed by a group of mercenaries holding guns against the two kids.

And this is where the story takes a surprising turn. That metahuman tracker successfully followed Captain Marvel for a while and discovered that he was Billy and was living in the subway. Sivana then dispatches mercenaries to kill the kid known as Captain Marvel. While Billy is able to successfully transform and knock out all the gunmen…his friend lies dead behind him. The sight of it shocks Billy. We later see Captain Marvel force his way into the police station and physcially abuses one of the mercs in custody. Threatening to kill him if he doesn’t speak. Luckily Billy doesn’t kill the gunman. Cpatain Marvel shows up in Sivana’s office, terrifying him and holding the old man in hi hands. Letting Sivana know that he has been trying to come up with any reason to not kill him, but fails to find that reason. For a moment, it does look like Sivana will be murdered. But Billy finds he can’t just do it and lets the villain go before leaving Fawcett City.

Superman sees the news coverage of this in Metropolis and finds Captain Marvel at the same North Pole location from earlier. Superman expects a tense confrontation, maybe even a fight. But he is genuinely surprised to see the champion crying and regretful about what happened. He tries to explain how a kid died, someone he considered a close friend. This of course confuses Superman. Captain Marvel then stands in front of Superman, says the magic word, and he transforms into Billy Batson. A moment of silence passes, but then Superman asks five words, and I swear you can feel the quiet anger when you read the dialogue. “Who did this to you?”

This brings us to a meeting between Superman and the wizard Shazam, the person who gave Billy Batson his powers. We see Superman yell at the wizard, condemning him for choosing a child to take on such power and an incredibly large burden. Throughout most of the conversation, Shazam stands firm and insists that Billy was the right choice and it was his fate. Superman yells back, arguing back how kids should be in school and enjoying their lives without the worries that heroes must deal with. At least someone like Superman had time to process and think about the costs before he put on a cape, at least it was his decision. Billy isn’t able to process something like what just happened in the subway. Shazam admits that Billy is new to something like this, stating that he needs guidance. But the look on his face is s subtle silent plead to Superman to help Billy in this dark moment. Realizing that Shazam himself isn’t the best person to help him right now and that as powerful as he is, he also needs Superman’s help just as much as Billy. The story ends with Superman finding Billy in an abandoned home and sitting down next to him as he reveals his identity with the young kid and they begin a talk.

For three quarters of this story, it is a pretty good story. Fun to read with some cool action and small moments of fan service. But this final issue includes a hard tonal shift that works in favor of the mini-series. It elevates it into a story that holds a surprising amount of emotional weight. It gives a moment where it imparts an important lesson. Everyone experiences hardship, no matter how invincible you feel. It is hard and feels overwhelming if you face it along. But you shouldn’t face it alone. It is OK to reach out to someone for help. Because it’s our connections to others that make us feel like we can take on anything.