Tag Archives: DC Comics

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.

Movie Reviews, Movies

Review – Black Adam

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A big reason why comic book movies are so popular is because people who grew up reading some of these characters are finally being adapted for the big screen for everyone to see. The chance to see your favorite characters do what they do best, giving people who don’t read comics a chance to see how great they are, it can feel pretty awesome. I will admit to getting on the hype train for this movie because I love the character, as well as the Justice Society of America. I want to see these characters done right, to see them in a whole new format and be awesome. And now that the movie has finally arrived, I can declare it…an okay movie.

Let me make something clear. I don’t get paid to review movies. That must come as a huge shock to…honestly, no one if you know me or have become familiar with this site. I’m just a guy who has seen and enjoys a lot of movies. But I will say that because I watch so much, I’ve started to notice the same story outlines and lines of dialogue being used over and over again. And I was starting to feel a lot of familiar tropes in this movie. But tropes & cliches aren’t inherently goo or bad. It comes down to how they are presented, how they are delivered, and if anything new and/or unique is done with them. As far as this movie goes, they utilize the familiar tropes like an average movie. No surprises are thrown in to make them feel driven.

But a lot of that can be somewhat forgiven if the acting is good enough. I’ll admit right off the bat that Dwayne Johnson puts in a great performance as Black Adam. Our first scene with him is a fight scene and we do get to see him deliver out some ruthless hits. Admittedly, it would be cooler if the movie is rated R, but that’s a whole other issue with comic book movies we don’t have time to get into. Another aspect of Black Adam that works well is some of the comedy directly involving him. You can probably predict that Black Adam faces a “fish out of water” scenario where he is adjusting to how the modern world works. And most of the jokes that are based on that do land. While still keeping him a pretty intimidating and powerful force.

As for the supporting actors in this movie, it can be hit or miss. The character of Adrianna is performed well. Her son, Amon, does admittedly have some annoying scenes. He plays the kind of character you probably expect him to have when it comes to interacting with Black Adam. As for the members of the Justice Society…I’m afraid there is more disappointment. As for how they all look, their costumes are pretty good. And part of me is always happy when the JSA get adapted in a major project like this. But of the four members in this movie, two of them aren’t essential to the story. The younger members – Cyclone & Atom Smasher – can be replaced or written out entirely. And unfortunately, Atom Smasher is written to be the comic relief that is in every comic book movie these days. Probably the most annoying character in the movie.

But let’s move onto the older members of the Justice Society. Pierce Brosnan as Doctor Fate is great. A major highlight of the film. As for Hawkman…it’s underwhelming. He looks great, and as a reader of JSA comics, I’m excited this character has a chance to go up against Black Adam. But the writing for him is severely lacking. He is made to be the leader of the team, working with Amanda Waller and views Black Adam as someone who needs to be stopped. Except we don’t know anything about his backstory. What is his origin story? How long was he a crime fighter before the events of this movie? If he stopped for a while, what made him decide to pick it back up again? How and why did he decide to work with Amanda Waller? And why is he stubborn and so insistent that Black Adam is a bad guy? All we get regarding that is “heroes don’t kill people.” But we don’t know anything about this version of the character to have that carry any weight. If he had a backstory that elaborated on his beliefs, that would be something. But as is, he is a character that I want to like more than I actually do.

And finally, we have that villain that doesn’t appear until the final act. The type of villain that simply wants to take over the world and do the usual evil things. He looks a little cool, but you can replace him with so many other villains from a lot of different comic book movies. What’s so funny is that the plot that eventually introduces this villain can be taken out entirely out of the movie. They could have done something similar to Deadpool 2 and have no clear cut bad guy. Have the conflict be entirely about heroes with conflicting perspectives and fighting about it. They could have expanded on Hawkman’s backstory, give the younger heroes of the team a story where they decide that it isn’t the JSA’s place to say if Black Adam can be free or not. Create a conflict that puts the JSA against each other, make Hawkman the on screen bad guy with Amanda Waller the background villain that can continue to go up against Black Adam in future projects. But no, we have the plot that introduces a standard villain where both the JSA & Black Adam team up together to take down. It’s a very standard plot.

Having said all of that, there is stuff in this movie I liked and appreciated. As mentioned, the JSA heroes all look good and the performance from Dwayne Johnson is great. There are some fight scenes that are cool to watch and Black Adam does get a chance to showcase some of his ruthless behavior. And the movie does shine a small spotlight on how the people of Kahndaq view these heroes. They jeer Hawkman for saving the lives of a couple of Intergang members, a group that has invaded and controlled their country for many years. But when Black Adam kills them, they cheer and support him. And Adrianna points out how the JSA has never once been to their country, despite their claim that they are supposed to fight for global stability. And she points out the only reason they are here is because a country that isn’t the United States now has a superhero, one that could potentially a threat to whatever interests or agenda the US government has on an international level. If the movie had delved into this a lot more than it did – in addition to the story change I previously mentioned – the movie would have a lot of intriguing questions for the audience to discuss.

At the end of the day, this movie turned out to be all right. Definitely not one of the worst comic book movies ever. But certainly not one of the best. The movie does start going down the right path in a few areas. It has elements and pieces that could serve the foundation for a much stronger, unique movie. But it does ultimately turn out exactly how you expect it to. Hopefully, these characters get a chance to really push things down the road. And fans of these characters can truly see them in a story that captures everything amazing about them, not just some.

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.

Film Editorials, Movies

Which Version of “Superman II” is Better?

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Let me make one thing clear at the start. While neither version is flawless, both versions of “Superman II” are good films. Fun action, entertaining performances, and good character moments. But the reason two versions exist at all is because Richard Donner was fired and replaced with Richard Lester. We won’t get into the story behind production because that will be too complicated. Plus, it really isn’t all that relevant to what this piece is trying to explore. Looking at both versions and identifying what makes them unique, we have to ask the question. Which version is better?

I think the biggest, most fundamental difference between the two is tone. Richard Donner saw the Superman mythos as modern mythology. And I personally believe that all superhero/comics mythos as modern day mythology as well. Stories of Hydras, gods like Zeus & demigods like Hercules have now been switched out with stories about Spider-Man, Batman & metahumans. Admittedly, the two major superhero universes (DC & Marvel) also have Hydras, gods like Zeus and demigods such as Hercules, but you get my point. Back on topic – Donner approached his movie with a more dramatic approach. It still had moments of humor. This is still a movie that has to entertain audiences and he is adapting the Silver Age version of these characters. But Donner was continuing a character focused journey and the obstacles that Superman has to overcome.

Lester’s version had more comedy in it. Much of that comedy did overlap with what Donner’s cut had, but there are some notable differences. The third evil Kryptonian – the mute called Non – had a few more moments int he film that made him come off as more pathetically goofy early one. Some of that had been cut out of Donner’s version as the focus was more on him being pure brute force. In Lester’s version, there is more of a comedic banter between Clark and Lois. Especially when they are at Niagara Fall for a story. Clark himself is more of a klutz in Lester’s version in general. Him being a klutz is actually what helps Lois confirm that Clark is Superman. Donner’s version cut most of the comedic banter out, thought still some. And made sure that the two still generally worked off of each other well. And if we are specifically talking about Lois, well, she is suspicious right at the start that Clark is Superman in Donner’s Cut while in the theatrical it takes her couple of scenes before she gets suspicious. And as for how she determined Clark was Superman? Well…she shot Clark! Granted, it was a gun filled with blanks and she therefore tricked Clark to admitting the truth. But man, Donner really know how to adapt that aspect of Lois’s personality!

Aside from tone, there is a handful of differences you can pick up on. Donner’s Cut had Marlon Brando as Jor-El while Lester’s version had to cut him out and use Clark’s mother. Clark briefly gives up his powers in both versions, but Donner had it more explicitly stated why he chose to do that. Lex Luthor is in the film for roughly the same amount of screen time. Only major difference with him is that a couple of his scenes were rearranged in the beginning. Both versions open with the flashback of showing Zod and his henchmen being imprisoned in the Phantom Zone. Lester’s version included a terrorist attack at the Eiffel Tower where Superman had to launch a hydrogen bomb into space, where it went off and free them from the Phantom Zone. In Donner’s Cut, he used the beginning to show that Superman redirecting one of Luthor’s bombs from the first film is what freed them. Also, Lester’s version had a montage of scenes playing while the opening credits rolled. While Donner’s had a montage before the credits and that montage included audio while Lester’s just showed the visuals.

So you might be thinking that there isn’t too much of a difference between the two. While one might have more comedy, they still shared the vast majority of scenes and the plots are for the most parts exactly the same. But there is a big difference when it comes to how they end. Lester’s version had a big fight between Superman and the Zod’s crew in the city. Then they all went to the Fortress of Solitude where another fight happen. One that utilized very bizarre powers never before used in the film or past film and weren’t used in the following films. But then Superman uses a trick to get rid of his enemies powers and kills them. At the end of the film, Superman plants a kiss on Lois to wipe her memory in regards to his secret identity. Now…the Silver Age Superman did have a lot of bizarre powers. But I have yet to hear of a story where he does that. And it kind of ages badly.

In Donner’s version, he also includes the big fight in the city. And all the main characters do go to the Fortress of Solitude. But there is no fight in the Fortress. It goes into Superman’s trick and killing them. Superman then destroys the Fortress and returns Lois home…and then Superman flies around the world to turn back time just like in the first movie! All the events that happened are reversed and Zod and his crew are still in the Phantom Zone. My problem with this is not only does this repeat the ending of the first movie, but it’s kind of a middle finger to the audience by saying nothing that happened actually mattered.

With that in mind, I have to side with the Lester’s version – the theatrical cut. It does have more goofy stuff in the film and Donner’s does have more character focus. But Lester’s didn’t go so far as to wipe out the entirety of the film’s plot. Lois may no longer remember Clark is Superman but everything else is still intact. But Donner’s Cut is still a very interesting version to watch. And I still recommend you go seek it out. I’m always going to be interested in different takes on certain movies and how things might have played out. And this certainly satisfied my curiosity. You might have a different opinion but that’f fine. “Superman II” is always a fun watch, no matter which version you prefer.

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.

Comics

A Look at Poison Ivy’s First Comic Series

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A big criticism of the modern comic book industry is that nothing seems to really change. Or when they tease change, it never truly sticks. But there have been a number of times where companies and creatives have really tried to do something new. Most of the time, these changes occur with the lesser known characters from their roster. One curious and interesting case of a comic book company trying to change the perception of a character is Poison Ivy. While originally created and presented as a supervillain for Batman, DC has recently been trying to push her as an anti-hero. Personally, I think that’s the right idea and is something worth pursuing. One of the biggest results of this push is the character’s own mini-series named “Poison Ivy: Cycle of Life and Death” released in 2016.

Published towards the very end of the New 52/ right at the beginning of Rebirth, this story was meant to have the character reconnect with her human side. The character is often portrayed as an ecoterrorist that values plant life over humans, gaining her powers after years of abuse and as the result of scientific experimentation. But there have been times where she finds herself at odds with what she feels she must do for the natural world vs what she wants for herself. This 6 issue story does explore that to a certain extent. She relocates to Gotham with a new identity and at a research facility. But her main goal while there is to experiment and create plant-human offsprings as surrogate children.

While she is successful at that, there isn’t conflict. The head of the research facility is murdered and she is in danger of being discovered by authorities. But the person believed to be dead turns out evil and now wants to use the cells used to create Ivy’s offspring to unlock immortality. Also, Ivy herself does struggle trying to determine the best way to provide and raise her surrogate daughters. The story ends with the bad guy being defeated with her offspring leaving Gotham to try being on their own. Even Swamp Thing – my favorite character of all time – shows up to try and give Ivy direction for what she should do now. And yes, I have a lot of idea of what DC should do with a Swamp Thing & Poison Ivy collaboration, but that’s a discussion for another day.

Overall, this is a solid story. Nothing truly memorable. But a fine read if you are a bit curious about it. I think the biggest problem with this story is that it tries to be something of a superhero story. Mainly when it comes to utilizing some of the story tropes of the genre to tell Ivy’s story. Like mentioned earlier, I love the idea of exploring her as an anti-hero. Someone with a more complex ethical code that’s connected to two very different worlds. DC hasn’t always shown the full strength of what she can do. But when they do, she is truly a formidable force. She could very well take over the world and wipe out humanity if she truly cuts off herself from her human side. But because she chooses to remain connected – mainly through her romantic relationship with Harley Quinn – that does set-up the potential for a lot of interesting character exploration. But telling it using superhero tropes isn’t really the best way to do that.

I like the idea of Ivy creating offspring that also share the same duality as hers. But since this is only a 6 issue story, they don’t have the chance to fully delve into anything meaningful. The offspring themselves are flat as a result. And when they leave Gotham to be on their own…I have no choice but to assume they are dead since they haven’t shown up since. Which based on what had been established about their biology, is the most likely scenario for them. If this series ran for a little longer, maybe they could have really tapped into something. But instead, it just sort of simmers. And underwhelming conclusion with a vague tease that will never be paid off.

At the end of the day, I don’t regret reading this. I feel like in the long run this might actually help convince DC to do more stories focused on her. Hell, maybe even an ongoing series. Because this story does start off on the right track and does present a couple of interesting ideas. But the stories will have to ditch the superhero clothing so to speak. That’s not to say there can’t be fights and villains, but it will need to be more experimental and creative with how the story is told. But I still stand by the fact that Poison Ivy has a lot of potential to truly be a powerhouse if given the chance.

Comics

The Journey of Renee Montoya

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The 1990s has become a surprisingly important decade for Batman. This decade saw the publication of two major Batman comic events – Knightfall & No Man’s Land. Both of them would have major influences on the character and mythos for years to come. Speaking of Knightfall, this decade would see the introduction of Jean-Paul Valley AKA Azrael who would take up the Batman name during that event. No Man’s Land saw the introduction of Cassandra Cain, the second woman to take up the Batgirl mantle. And the character who would star in the first Batgirl solo title. Tim Drake would be the star in the first solo Robin title which started during Knightfall. Let’s not forget Batman in other media. The film “Batman Returns” would become a fan favorite in the years following its initial release. The animated film “Batman: Mask of the Phantasm” was sorely overlooked but has become known as one of the best – if not the best – Batman movie. And of course, the show “Batman: The Animated Series” was highly popular and has become known as one of the greatest cartoon shows of all time.

The animated show is relevant to what this article is taking a look at. While the show’s biggest influence on the comics was creating Harley Quinn, there was another character that the show created that would make the jump to the medium. A character that when it comes to the regular citizens of Gotham, is probably the best representation of the best the city has to offer. That character is the cop, the vigilante, the badass known as…Renee Montoya.

As mentioned, she was a character that was created by the animated show, as a cop (and later detective) of the GCPD. But she actually was preemptively introduced Batman #475. Kind of similar to how the Adam West Batman show asked DC Comics to create a female character – Barbara Gordon as Batgirl – to see how people would react before introducing her on the show. It would later be established that she is the daughter of immigrants from the Dominican Republic, along with her brother. When she was later promoted to detective, her partner was Harvey Bullock. While he was a grouchy character, and someone who didn’t mind bending the rules to solve a case, Montoya was a sort of counter-balance. She’s someone who was supportive of Batman. In fact, she would later admit she became a cop partly because she was inspired by him.

During the events of No Man’s Land, Montoya was one of the cops who remained in the abandoned city of Gotham along with Commissioner Gordon. It was during this era should would act as the middle man between the remaining GCPD and Two-Face’s gang. Maintaining an uneasy alliance to help keep the peace in what has become Gotham. There were moments of genuine partnership, especially in the early days when Two-Face found himself helping out the people in the aftermath of the earthquake and Renee would lend a hand. Things were more tense as No Man’s Land went on however. Even reaching the point where Two-Face would capture Gordon and put him on trial for what her perceived as wrongdoing. Renee would convince Two-Face to actually execute a fair trial where the Harvey Dent persona of Two-Face would defend Gordon. The situation ended with Gordon being released.

Despite Gordon doing some morally questionable things during No Man’s Land and even refusing Batman’s help in the beginning, Renee would stick by his side and offer support. Which is why later on, after Gotham rejoined the US, she found herself on the brink of the abyss. Gordon had been shot, seriously injured. Renee went out to try and track down the shooter and seek vengeance. Thankfully she was stopped by Bullock before she could do anything. But it turned out that Harvey had leaked the shooter’s identity to the mafia when it was discovered the assailant was a part of the Witness Protection Program. This would result in him no longer being a cop. Some hated Bullock for doing what he did, others stuck by his decision. Renee was stuck in the middle. She was angry at what her partner did. But she can’t ignore the fact that she shared his anger at the man who shot one of their closest friends. Anger that would be fed as danger began moving in her direction.

Renee would be assigned a new partner, Detective Crispus Allen. He had more in common with Renee personality-wise compared to Bullock. All though he considered Batman a necessary evil, one that he wants to help the GCPD move away from. So he’s a little more by the books than Renee in certain areas of the job. But that won’t be a factor until later one. In the comic title “Gotham Central”, Renee found herself harassed by a rapist that ended up walking. It started with him suing her. Nothing that she probably couldn’t fight off herself. But then he and a private investigator discovered her big secret. Renee Montoya is gay and has been secretly seeing a woman named Daria. When he followed the two of them, Renee would confront him and make a threat to him if he ever went near Daria. The next morning, two major things happened. Renee’s stalker was found dead. But more importantly – a picture had been hung up in the GCPD showing her and Daria kissing. She had just been outed to the entire police force.

These two events combined and some more finer details made her the primary suspect and was put on trial for murder. Her brother – who had already known but still struggled with the knowledge – couldn’t convince their parents that Renee being gay wasn’t true. Disowned by her parents and several officers from the GCPD against her and throwing slurs at her, her only ally was Crispus Allen who was struggling to prove she was framed. But thankfully, the mastermind revealed himself as Two-Face. It turns out that he had fallen in love with Renee due to their working relationship during No Man’s Land. He orchestrated everything so that she would have nothing in her life except for him. Leaving her no option but to love him. In his delusion, he believed that her love for him during her darkest hour would be enough to “overcome” her sexuality. He had captured her during her transit from the courthouse to reveal this information to her. At first she played into it to try and lower his defenses. But then she fought back, the gun in his hand dropping to the floor. Both made a move for it, but Batman finally intervened. A part of her became angry at him because she was almost at the gun. But he told her that one of them being shot and killed was not an option. Still, her anger grew despite being rescued and her name being cleared.

Renee Montoya was someone who would still help the people of her community. Someone who worked hard to do the right thing and find justice. But ever since she was outed and her parents turned their backs on her, she began to spiral. At night, she was out at bars looking for fights. She began drinking just like her former partner Bullock. One night she found herself holding a gun and crying in her home, her girlfriend Daria trying to comfort her. A slightly more productive way of exercising her anger was going after a cop from the crime investigation department, Jim Corrigan. He is c op who sells crime scene evidence on the side for some money but the GCPD could never firmly prove his illegal activities. When his side hustle put her partner Cirpus Allen in danger of losing his job, she beat the information she wanted out of him. While he was cleared, Allen was angry that now the GCPD didn’t have a case against Corrigan. Renee would discover that since then, Allen had been doing his own investigation to try and create a solid case. However, he ended up being shot and killed by the man he tried to take down.

The GCPD went all in to try and finally nail Corrigan. But he manipulated the evidence and once again walked. So during the night, after taking a few more drinks, Renee broke into Corrigan’s home. She held the gun up to him until he dropped to the ground, crying and begging her to not kill him. Despite all her anger building up all this time, through everything that had been thrown at her – she couldn’t pull the trigger. She left him to cry on the floor. The next day, she turned in her gun and badge and quit the force.

Months went by. Daria ended up leaving Renee, unable to watch her spiral any longer. That only pushed her to drink more, seek out more women for sex meaningless sex. But at least it distracted her. She no longer knew who she was or what she stood for. Her inability to become a killer also made her view herself as a pathetic version of Batman. What’s next for someone who has lost everything and everyone that she considered important? Now that’s the question. And it’s also where the faceless vigilante Charles Victor Szasz AKA The Question enters the story.

The faceless vigilante recruits Montoya as he investigates a bizarre case that touches on various aspects of the DC world. During this time, it is revealed that The Question is dying from lung cancer. And the reason he reached out to her is because he wants her to take his mantle. But in order to do that, he must go through the same kind of training he did. Which includes her looking deep into herself and confronting all of her flaws. Finding some sense of inner peace. It at first seems like a nigh impossible thing for her to do. How can someone who has gone through so much hardship – including being disowned by her own parents – find a way to move past that? But Renee found what she was looking for. And so when Charles Victor finally dies, he feels at peace knowing that he did manage to help someone he called a friend in his final days.

The woman formerly known as Detective Renee Montoya is no more. She is now The Question. Taking on the corruption of the larger world in a way she never has before. Reuniting with an old flame, Kate Kane the Batwoman, and even briefly working together to take on the Religion of Crime. The faceless woman fights for those that have been exploited and abused by those in power, feeling whole for the first time in her life.

And then DC Comics decided to shoot itself in the foot and started the New 52 initiative. The purpose of the New 52 being was to reboot the entire DC universe and start all their characters from the beginning. We don’t have time to go over the entire New 52, but here is what is relevant. Despite there being no communication on what was or wasn’t canon anymore, referencing characters or events or stories that shouldn’t exist yet, Renee was back to being a detective at the GCPD. And yet, as DC moved past the New 52, they seemed to be unsure of where they wanted Renee in her story. In some appearances she was a detective on the force. In others she was The Question, even though I’m not sure if Charles Victor is supposed to be dead. And more recently, she is shown as the being the commissioner of the GCPD. It is all very confusing. But on the bright side, no matter what role she’s occupying, she is continuing the fight against evil.

At the time this is being posted, the character is celebrating her 30th year anniversary. But the real reason I decided to write and publish this piece is to show the true strength of what DC has to offer. We often stay focused on the superheroes like Batman or Superman or Wonder Woman. Those that put on a costume and fight against unfathomable forces. But there is a plethora of characters who are much more regular citizens that have some of the more inspiring journeys that the medium has to offer. A woman struggling with her identity, dealing with everyday crime, then losing everything that once defined her only to become more confident in who she is and what she feels compelled to do. The story of Renee Montoya is one that inspires and gives hope for all of us that we can be heroic. We have the capability of fighting back against the corruption and obstacles around us. And she shows us how we can improve on ourselves.

Renee Montoya – detective, vigilante, fighter, hero.

Comics

The Third Standalone Sequel to Watchmen

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Who at DC Comics signed off on creating 3 separate sequels to Watchmen? I’m all for different people adding to this world, but they all came it in a pretty short span of each other. Doomsday Clock took a few years to complete, the HBO show started running before Doomsday Clock got its last issue out, and I think this comic started publishing only a year after the show ended. There is a thing called oversaturation you know. Some people might assume that two or all three are connected and might end up disappointed to learn otherwise. But none of this is actually speaking to the quality of this comic, so let’s dive into that.

Rorschach is a 12 issue mini-series that is a standalone sequel to Watchmen published under the DC Black Label, an imprint of DC Comics for more mature stories. It starts off with two people who are about to assassinate a presidential candidate being killed by security. An investigator is hired by the candidate – Governor Turley, the conservative opponent to sitting President Redford – to find out who these people were and why they tried to kill him. Things are made stranger since one of the people is an elderly man wearing a Rorschach mask but the other is a twenty year old woman. And the journey through their lives complicates the investigation every step of the way.

We should talk a little bit of the writer of this comic, Tom King. He has made several well known stories in career. A few have been highly praised. But a few are highly despised among critics and and comic fans, so there was concern and backlash when it was announced he was the one writing the story. We don’t have time to go over his writing style, but I will identify one trait that shows up across his work. Tom King likes to write dialogue in a sort of poetic style. Even if sometimes that results in his characters not talking like real people or just has them keep going on and on about something completely unrelated to the situation at hand. Some of his books do it better than others. Luckily, that does seem pretty restrained in this book. Since most of the people in the story are government workers and even investigators, they talk like they should. It does feel like these people are more grounded and realistic.

Throughout the story there is focus on a couple of different conspiracy theories. One is that Doctor Manhattan, knowing that the squids – like the one that “attacked” New York – and devised a plan where the bodies of the heroes are destroyed but their souls will reappear in other bodies. That connects to the dead attackers, the young woman who was raised by her extremist father has convinced several people they were Rorschach reincarnated so to speak. And for a while, I thought this story would end up speaking on the topic of isolation and connection. Which would have been a relevant thing to discuss especially in the midst of a real world pandemic. How ideas can be powerful and bring people together, no matter how dangerous their influence might be. But that you should always identify the people behind the idea and see their true motivations. I thought that was where this story was going.

However, that went away when a different conspiracy turned out to be true. That the attack on Governor Turley’s life was orchestrated. But unlike it being manipulated by President Redford like he is trying to prove, it was of his own doing. Setting events up in a way where the only connections would go back to Redford and help him win the election. However, the investigator we have been following through the story has constantly been at odds about what he thinks & feels, trying to figure out what he should do once he discovers this information. This ultimately leads him to kill Turley himself, essentially identifying himself as a new Rorschach, but not in the way the the dead criminals would define him as. But rather a new vigilante that follows Rorschach’s ideals.

So this story ends up being one that talks about the cyclical nature of violence and politics in society. And the investigator’s story is sort of a living Rorschach test where his viewpoint is constantly changing until he sees what he wants to see. Depicting his rise – or fall, depending on how you look at it – into vigilantism. And this story is completely serviceable for the Watchmen mythos. But I’ll admit that I think it lacks a special quality, something that prevents it from having as full an impact as it should. You can say what you want about Doomsday Clock and the HBO show. But both of those stories had reveals or surprises that really touched on the overall message of their respective stories. Those revelations helped leave as large an impact as possible. I don’t think I’m going to remember this comic the same way I look back on the show or Doomsday Clock. But that doesn’t mean I think this is bad. If you are looking for something that is more of a detective story, this is that story. And you’ll like it for sure. This just didn’t engage me in the way that I hoped.

TV

The One Failure of the HBO Show Watchmen

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I need a mini rant about something before we actually get to the topic at hand. Why is this show simply titled “Watchmen”? That’s the name of the original story. How come every sequel rebooting a franchise has to have the same name as the original? Blumhouse did it for their first Halloween film, the 5th installment of the “Scream” franchise did it, the Netflix Texas Chainsaw Massacre film did it. If your story is following up on events from previous films or installments, then you have to do better to identify it as a separate entity! Why is Hollywood’s lack of creativity progressing to project titles?! All right…I’m sorry, just needed to get that out there. let’s actually get to the problem regarding this specific show.

Before you get mad, I should say I think HBO overall did a great job with this show. I definitely would recommend it for fans of the graphic novel. Especially if you are someone who is looking for a sequel that’s more like Alan Moore’s writing style and the grounded take he approached. The world has progressed in an organic way from the graphic novel’s ending, we explore fascinating aspects of this world’s past and are introduced to a whole set of engaging new characters. The show deals with the nature of power, Racism, and explores many similar themes and ideas that Alan Moore once did. But having said that, there is one part of this show that I feel it ultimately failed to do justice. And it comes back to our favorite superhero advocating for nudity – Doctor Manhattan.

They do a few things with this character in the show. Manhattan seems to possess the ability to transfer his powers to someone else. And that’s hinted at in the final episode where Angela eats an egg that might have been imbued by Manhattan with his powers. But we don’t actually see if she inherited them, leaving it open to interpretation. This I’m actually good with. It is completely logical that this would be in his power and he did do something like this in Doomsday Clock. The second thing the show does with him is apparently show he has a weakness. The bad guys apparently use this special kind of battery to power a machine that has the ability to permanently kill Doctor Manhattan. I…look, Adrian was able to hide his real plan from Manhattan during the events of the graphic novel. It had to with a certain type of particle that could shield themselves from how Manhattan viewed time. But Adrian thought he could also kill him, only to see him reappear as a giant right in front of him. Resurrection is literally the first ability that Manhattan learned how to master. You MIGHT be able to find a way, but you have to come up with something really convincing. And I don’t think the show did that to explain how they were able to kill the blue man.

But the real issue is his motivation. The reason why Manhattan is in this show, the reason why he is interacting with these characters. We are shown that he did leave Earth for a while and did experiment in creating intelligent life. But then one day he turned his attention back to Earth and saw Angela. He came back and met her because he had fallen in love with her. Let me repeat that. Doctor Manhattan – the man whose whole story in the original was related to how he felt himself disconnecting with his emotions and fell out of love with two women – had fallen in love and that’s why he returns to Earth. I…no. Just a simple no. I can’t accept that as a believable motivation for this character.

Let me better clarify Manhattan’s story. To say he had fallen out of love might be interpreted as he no longer has feelings. But that would be inaccurate. He does return with Laurie to confront Adrian about his manipulative plan about creating world peace. Even though he felt like life had no meaning throughout most of the story, the talk he and Laurie has on Mars did remind him about how spectacular it is. And the graphic novel does show he still cares for Laurie and Dan. But the intensity of emotions he feels isn’t the same as it was before his transformation. It’s more like he cares about them the same way some people might care for a family pet. He’s fond of them, recognizes that he does have an emotional connection to them. But he still sees himself as superior and doesn’t believe he actually needs them like they might need him. And keep in mind, he ultimately decided that Adrian’s plan was the way to go. Whether or not he agrees with it is irrelevant. Manhattan is fundamentally a scientist and has a different set of principals than his former teammates.

Look, Doomsday Clock is not a perfect story. I actually made a post going into further details about that Watchmen sequel, including going over some flaws. But Manhattan’s role and purpose in that story was more faithful. The way we are introduced to him in that comic matches up where we left him in the original and we actually see in that comic how he changes by the end. But we don’t really get that in the HBO show. We don’t really get why Manhattan suddenly finds himself in love again. But he is important to the themes the show wants to explore so they needed to find a way to bring him in. And don’t get me wrong, having Manhattan in this show is the right decision. The show is still overall great. But their handling of the character prevents me from fully realizing this as a faithful follow up to the original story.