Yes, that Watchmen.

I haven’t had a lot of time to read comics regularly as of late, such is the nature of my day job, freelancing, and project schedule. However, this weekend proved to be an exception and I had time to relax. I decided to finally watch the second part of the animated Watchmen adaptation of MAX, and it made me think about Doomsday Clock, a series I never finished because, unsurprisingly, I found myself busy and it didn’t hold my attention at the time

But hey, no time like the present to catch up, right?

DC’s Doomsday Clock – Gross IP Exploitation or Metacommentary Sandbox?

I re-read the first four issues of Geoff Johns and Gary Frank’s Doomsday Clock and still see a lot of things that I dislike. But, I am also one to talk about things I find genuinely interesting. For example? The fourth issue is brilliant. I’ll write more on that another time.

As a comic nerd, I have a great respect for Watchmen. It is a masterful work, though not without its problems. The worldview presented within is of its time and there are elements of the work that don’t hold up in certain regards of metaphor and messaging. It is still a major highlight of comics history and while I don’t consider it inherently untouchable, it is clear why so many adaptations and additions to the text fail to work.

The text is of the singular voice of Alan Moore and his perspective on history, society, and culture. That is not to dismiss the brilliant work of Dave Gibbons, of course, who is also of vital importance to the success of Watchmen, but Moore’s unique vision drives the meaning one pulls from the comics. Without Alan Moore, Watchmen does not work.

Dave Gibbons has shepherded the story in his way as the only one of the creators still willing to be engaged with the story in any way. Gibbons is a co-writer, but the tone and voice are so very much Moore. As great as he is, he can’t quite steer these post-Moore Watchmen projects in a way that evokes the specific mindset of Moore that suffuses the original work.

Doomsday Clock suffers a great deal from this. It does get close, at times, to Moore-ish language, plotting, and meaning, but far more often it stumbles, too content in trying to follow an idea of Alan Moore, rather than thinking like Alan Moore.

A Sequel to Watchmen? Really?

I’m not inherently opposed to a sequel to Watchmen, as it is a rather interesting alternative reality that initially ends with the Sword of Damocles hanging over alternate 1986. Who wouldn’t tempted to at least revisit that world if they had the option, especially as a creator? My initial thought wouldn’t be to tie it to the yearly Crisis storytelling of the DC Comics universe. My impulse would not be to play it straight, either, but such is the case with Doomsday Clock, a story that jettisons satirical exploration of the comic form of its era and instead arrives as a complicit cog in a vanity project.

But, we have what we have, and there is some attempt to provide the book with some depth, to varying successes. We will see that unfold into a rough thesis across 12 issues, but the first four? Kind of a mess, again, except for issue #4.

The comic feels as though It’s mainly about trying to play the greatest hits of Watchmen, merely out of marketability over narrative sense and respect for storytelling. It’s not all doom and gloom, however. The new Rorschach is a smart metatextual expansion and evolution of a character who is more of a meme than anything now. Also of interest is the usage of Doctor Manhatten and Ozymandias.

But really, the main appeal to this series is the juxtaposition and mirroring between the quasi-Charlton universe of Watchmen and the then-contemporary metastory of the DC Universe. Warts and all, there is still stuff to enjoy.

Metaphorical Meat

For what it is worth, the central crisis and parallels of Doomsday Clock are entertaining and an interesting, if somewhat masturbatory conceit that is established in the first four issues. Just as the heroes are outlawed in 1977 in Watchmen, there is a costumed avenger crisis in the contemporary DCU as the world comes to terms with the reveal of “The Superman Theory.” Not only a fun nod to the super-man who built DC, but it also creates a ticking clock of an impending disaster that echoes Watchmen. World War Three is not based on ballistic missiles, but the metagene.

The Superman Theory is one of the elements I enjoy in the storytelling of Doomsday Clock. However, at times, the main comic narrative feels too much like an uneven tug-of-war between the big faces of the universe and cramming in as many superheroes and villains as possible. I understand the desire to ensure every hero gets their 5-seconds of face time.

But where Doomsday Clock follows the path set by Watchmen, and best succeeds, is in the errata: News clippings, infographics, and excerpts from dirt sheets in 1950s Hollywood. Moore’s text blossoms with the errata, which came to its perfect execution across his League of Extra-Ordinary Gentlemen books but shines, too, in Watchmen. Doomsday Clock does an able follow-up to this.

Also, “The Black Freighter” of the original comic, the metatextual commentary of the main narrative and comics at large that runs within Watchmen has its analog in the case of Nathanial Dusk, noir detective, and the life and death of his actor, Carver Colman, in Doomsday Clock. Though, even then, Carver Colman’s story becomes entwined with the narrative in a way that “Black Freighter” never did – the only connection between that comic and the larger story is its author being involved in Ozymandias’ scheme as a scenario writer, for which is later murdered by Ozymandias to cover his tracks.

Carter Coleman and his films are integral to Doomsday Clock in a way that works for the story being told. Again, a rhyme, but not the same – but it works. It is in the spirit of the original text.

So much of Doomsday Clock is meant to echo the experience of reading Watchmen. For now, I’d like to turn to something that bothered me. It may be a little petty, I suppose, but when you try to follow up on one of the most important comics ever released, your stumbles are that much more noticeable.

The Grids Matter

Let’s start at one of the more admittedly superficial elements of the Doomsday Clock production that bothers me. The handling of panels, specifically. I have written a lot about panels over at The Duck. Panels are a key language of comics that can carry interpretive meaning in addition to controlling pacing and setting time and tone. The original Watchmen is very deliberate in its 3×3, 9-panel grid, with occasional panels that combine rows and columns. The sense of pacing presented in this 3×3 grid is a key element to why Watchmen reads so easily and why breaks in this structure read as so critical to storytelling.

Pages can span minutes, to seconds, based on the breakdown of action from panel to panel. There is an intuitiveness to managing this across a simple grid, and between Moore and Gibbons, they cracked a certain code of fluctuating time. From page to page, there is no getting lost as far as temporality from moment to moment.

Consider the death of the Comedian in the first issue of Watchmen. The pacing is immaculate. Deftly woven between the scene of the present, and followed through with a splashy panel that breaks the 9-panel grid.

This page is even more impressive as it covers two different moments, simultaneously. Past and present play out in such an intriguing way. An economy of storytelling.

Panel Language of Disruption on Reality

Doomsday Clock is not paced so well, at times resorting to a 4×3 grid, resulting in an overly messy 12-panel page (issue #3, page 12) where the minutia of the action makes the sequence far less snappy. Ozymandias’ acrobatic escape from the Comedian reads as choppy as opposed to the feat of prowess it is intended to be. This sequence could have easily been handled in the 3×3 grid. it would have felt better. Here it feels bloated.

And yes, I recognize that Watchmen issue #7, page 18 violates the very grid structure I am harping on, but it makes sense in this case because the disruption in the panel structure reflects the disruption and unease presented in Dan’s nightmare. The nightmare is a violent intrusion into order and rhythm we have been following for several issues; the uncanny made manifest in the very structure of the book. It is an unreality intruding on the reality of Dan/Nightowl II.

In the Doomsday Clock escape of Ozymandias, we are still firmly rooted within the reality of the setting; the presence of the intrusive new grid is a tonal mismatch with its predecessor, Watchmen. Though as the modern DC sweeps into the metanarrative presented in Doomsday Clock, there is an allowance for this change-up; as far as Ozymandias’ escape, it feels off-putting. It just doesn’t feel in line with what Watchmen was. Doomsday Clock is not meant to be Watchmen, but it sure tries to draw from the association. In that regard, this grid situation just rubs me the wrong way.

And with that, the reading log for this week is down. Let me know what your thoughts are on Doomsday Clock. I’ll post a follow-up as I continue to read it, especially as I move into the issues I hadn’t read. If you are after these comics, be sure to check out your local comic book shop.

Also, I am still down to write traditional reviews, so if you have key issues you want me to tackle, or create your own comics and want feedback, please contact me about it.

The post Panel By Panel: Feb. 25, 2025 – Revisiting ‘Doomsday Clock’ appeared first on hpkomics.com.

I was weighing out whether to do serious, ongoing reviews of comic titles, like in the manner I am tackling Creature Commandos. But, I realized that’s not really what interests me here. I have written many, many reviews in my life, and been paid for them too. What I want to do is just write about what I read. I want to explore my feelings about titles I follow or discover. And I want to do that without the weight of a specific format.

So, welcome to my reading log, I suppose. I aim to write once a week about the comics I have been reading. This is less about criticism and more about reacting to or drawing associations between what I read and larger ideas. In many ways, this may be me just testing the waters of finding topics to discuss in depth. It also should help me read more comics which I feel like I don’t do nearly enough.

Anyway, what did I read this week?

Reading Log Jan. 5, 2025

This week I focused on the big two and their ongoing alternate continuities. While my overall impressions are good, I feel that DC has something going with the Absolute titles.

Please note: There will be a casual discussion of spoilers. I warned ya.

Absolute Batman #2 and #3

This week I caught up on Absolute Batman, checking out issues 2 and 3. Of the three current titles in the Absolute line, I find it to be the weakest. But it is still a solid comic. I thought the title was going to be about a Batman operating without vast resources. But, it appears that has been thrown out the window. But, it is replaced with an Elseworlds-lite that changes Bruce Wayne’s circumstances enough that the world seems flipped on its head. It doesn’t feel as fundamental a revision to the character as Absolute Superman or Absolute Wonder Woman, but it is just different enough.

I am most interested in seeing the dynamics of Bruce’s friend network, featuring civilian identities of classic rogues such as Killer Croc, Penguin, Riddler, and Two-Face. I also enjoy the much more brutalist take on Batman’s war on crime, down to his massive frame, and the even more massive Batmobile made from construction equipment. Whether he will take the money from Black Mask remains to be seen, but at this point, he doesn’t seem to need it. I’d prefer he didn’t take it.

Another note here; I find Bruce Wayne adorable, as his baby face is perched upon the body of a human giant. I am unsure if this adorable-himbo coding is intended, but I think it works.

Absolute Superman #2 and #3

Absolute Superman is my favorite title of the current Absolute lineup, though Wonder Woman is a very, very close second. Currently, I am up to issue #3. I have a lot I could say about it, but there are two things I want to focus on.

First, I want to talk about the TechBro Hell that Krypton appears to be. Krypton, time after time, has been doomed. Yet this may be the most oppressive form of that story I have seen. Many earlier instances of Krypton’s destruction stem from arrogance and lake of foresight regarding the natural world and the nature of industrial and scientific progress. The Krypton here is seen as having undergone a form of strip mining, both for resources and culture. The caste system adds a lot to this take on their destruction and the reveal of the upper castes planning for their escape is a horrific reveal.

Second, I want to gush about how Kal-El and Lois Lane met and how we quickly established their dynamics. Despite Lois being in the quasi-military, she develops an interest in writing after her encounter with an inspiring alien figure. I adore it very much. If their journeys take them to the Daily Planet in this continuity, I can see some fascinating elements coming into play from this.

Adding to this element is the emphasis on Kal-El’s writing in the third issue. it emphasizes an element of Superman that I feel is sometimes overlooked in adaptations: Kal-El/Clark Kent does just as much heroic work as a writer as Superman.

As Kal-El says in issue three “My words make me happy.” Fantastic.

Absolute Wonder Woman #2 and #3

Absolute Wonder Woman may stand out as my favorite take on the character since the DCAU. Issues 2 and 3 of the series illustrate what a wonderful combination of physical prowess and magical knowledge the character can be. Everything about this run feels like an iconic Wonder Woman dialed to 11. Who knew a little time in Hell could change a girl so much?

One of the standout elements is the art. I want to praise the illustration work of Hayden Sherman and the coloring work of Jordie Bellaire. The approach to Diana’s design makes her feel incredibly Greek, which tends to be an element of the character that is lessened in many adaptations.

The current story involving eldritch monsters from the sea is a great way to introduce Diana to the wider world. It helps, too, that we’re being introduced to her through Steve Trevor in issue 3. The Steve and Diana relationship has been a delight so far.

Ultimate Spider-Man #12

Of Marvel’s current line of Ultimate titles, I feel the comic that works best with the “real-time” approach has been Ultimate Spider-Man. Issue 12 feels like a more laid-back and character-driven story but with an exciting twist. But most of the issue is just Parker clan drama and mirth. I adore the comic for it.

Yes, Ultimate Venom is exciting. How can it not be? But just as exciting to me is the return of Gayle Watson, MJ’s oft-seen younger sister in most continuity. I like having an extended Spider-Clan.

Also, I love having an older Peter Parker as a father figure in comics. Peter’s everyman status does not end when he leaves high school and college. His having his own family makes him an even more endearing character, grows the cast, and introduces further stakes, in both his family life and life as Spider-Man. This hook is an amazing thing many fans clamored for, and it is paying off, here. One can only hope the mainline titles and film adaptations will explore.

The Ultimates #8

As far as the real-time stories go, The Ultimates makes sense as a big event book with a ticking clock, showing the preparations until The Maker re-emerges. The one-shot stories that check in on those preparations work pretty well and expand the Ultimate Marvel universe.

For example, The Ultimates #8 introduces the Guardians of the Galaxy of the 61st Century. The spin plays them off as a kind of Legion of Superheros where the current roster includes heroes with legacy titles. You have Star-Lord, Cosmo, and Captain Marvel, but with new, unknown histories. It is a fun detail that makes me want to write about legacy heroes.

The scale of continuity here works in favor of the comic. It makes sense Tony is still in a coma and why he is sitting out of the action. This is a great use of the pacing of each issue taking place in real-time, month by month.

I could write more about all this, but this current write-up is already getting longer than I had intended. I’ll have more to say in issue #9.

Ultimate Black Panther #8

I wish I liked Ultimate Black Panther more. We’re eight issues in and it’s serviceable, but the pacing is a big issue for me. As it stands, as compelling as the conflict in Ultimate Marvel’s Africa would initially appear, the comic has been stuck in a repeated cycle as this war has gone on. Wakanda and the Khonshu-Ra alliance are rarely on a siege footing. Both sides take nebulous action against one another. Meanwhile, the Wakanda royal conflicts seem to be circular, where King T’challa wants to take action, is cautioned against it, and does so anyway, and then chastised for it.

The most compelling element of the series so far, for me at least, is the pairing of Killmonger and Storm, but even they are still locked into this kind of meandering war between forces. Issue #8 even spotlights the new Sorceress Supreme on the cover, but she does not appear within the issue itself. It’s very frustrating.

The geopolitical nature of the storyline could be so fascinating, but it feels like nothing is happening. Yes, things are happening, technically, but it doesn’t read like they are. At this point, I feel I am reading it more for the completionist’s sake than enjoying the unfolding story.

Ultimate X-Men #10

Here are some general impressions of everything up through Ultimate X-Men #10.

Issue after issue I adore the art of Peach Momoko. it is such a strange choice for a major title such as X-Men, but for the type of story Ultimate X-Men is telling, it is inspired. For months the comic has been dealing with the lasting repercussions of The Maker’s tampering with the world and the emergence of cult thinking revolving around the X-gene, all while major X-Men we are used to are either missing or re-imagined for this new setting.

As far as the Ultimate titles go, I find Ultimate X-Men the weakest narratively. Not because the story and setting aren’t fascinating, but because the real-time approach has been killing the story’s momentum for me. The situations unfolding in the comic feel like they should be unfolding at a faster rate than we’re seeing issue to issue. like I had bemoaned in the first episode of Creature Commandos, the pacing is a killer. Though I am one to admit the shocking moment with Natsu Tsukisima’s optic blasts caught me off guard and was the biggest surprise of the issue for me. Things are really escalating now.

With that said, this is still easily one of the best-looking books I have read this week. I’m curious how far this cult angle will go, as nobody does cults quite as well as Japan.

And with that, the reading log for this week is down. Let me know what you think about this format and share your thoughts if you’re reading these books, too.

Also, I am still down to write traditional reviews, so if you have key issues you want me to tackle, or create your own comics and want feedback, please contact me about it.

The post Panel By Panel: Jan. 5, 2025 – Absolutes and Ultimates appeared first on hpkomics.com.

I was delighted by the fact that Absolute Superman was every bit as good as Absolute Batman and Absolute Wonder Woman. I think it is probably the best of the three. The Absolute line has been incredible for the characters as they are stripped down, essentialist versions of the characters; though circumstances change, what makes them Superman, Batman, and Wonder Woman shine through, no matter what. At least so far, I’ve only seen the first issue from each title.

With Absolute Superman though, in addition to establishing Kal-El as having grown up under the guidance of his parents to a degree, the main appeal to me is that the socialist element of Superman’s character, worldview, and actions has persisted and grown with this new incarnation. Living with the brutal social hierarchy of Krypton, a stratified society based on the perceived value of one’s labor, galvanized something that has largely been brushed aside in the character for a large swath of his publishing existence.

The New Man From Krypton

The socialist elements of early Superman, dating back to his first appearances following Action Comics #1 in 1938, have been well documented. Many have written on the topic, such as Hank Kennedy, and it is hard not to think of the Klan-smashing immigrant who fights industrialists as the superhuman ideal of the socialist critique of society; it lines up too well. He is the idealized, hopeful new soviet man of the future, delivered from the stars to guide the working man to a better tomorrow.

Grant Morrison can confirm as much, and he knows a thing or two about The Man of Steel. Here is a telling quote from an interview with him by Helen Lewis for The New Statesman…

At the beginning, Superman was very much a socialist superhero. He fought for the unemployed, the oppressed, he beat up wife-beaters. It’s about a man driven by a burning sense of injustice — there are no monsters or robots, he fights against corrupt council officials! He was conceived as a Depression-era superhero, who dealt with the problems of ordinary people.

Therein lies an issue; though. That Superman was of a time. Characters evolve, grow, and regress – the publishing history of a character is rife with rivers, streams, and tributaries of interpretation. Superman would begin to change as early as the 1940s, becoming more associated with broader themes of Americana amid the Second World War.

It doesn’t seem a coincidence that the character’s human identity emerged out of what was once John Brown’s Bleeding Kansas. Kansas was a hotbed of leftist ideals in the Depression. Brown sought radical justice for people, at the point of a knife and the barrel of a gun. A true freedom fighter.

As Kate Appel Eckert writes in “Let’s celebrate the hot-blooded, radical, progressive history of Kansas”…

Kansas entered the Union as a free state after a violent conflict over slavery, known as Bleeding Kansas, putting our dear friend John Brown on the map and serving as a “tragic prelude” of sorts to the imminent Civil War. It would later become host of the landmark Brown v. Board of Education ruling, which paved the way for the end of segregation.

Kansas spearheaded the suffrage movement at the state level, became a safe haven for socialist thinkers, and was the very first state to outlaw alcohol during the prohibition. And in recent years, Kansas was the first state to protect abortion rights after the overturning of Roe v. Wade. Kansas is consistently at the heart of every single revolution in America.

How aware Seigel and Shuster were of the weight of Kansas in American liberal history I cannot say, but we are looking at a character introduced during the height of Roosevelt’s New Deal, and Kansas was a location that benefitted greatly from FDR’s policy. The Kansas of the 30s was a place where the hardscrabble working class leaned left.

But Superman’s origins tying him to Kansas as the site of his immigration is only one small part of the socialist elements present in the character’s beginnings, and continued existence. It’s laid out wonderfully in the embedded comic below from the CommunistScenarist Tumblr:

The beating heart of the Man of Steel is social justice, and not always the popular and marketable kind. Superman smashing the destructive robots and lasers of rich mad scientists is all fun and games until the mad scientists and ultra-tich begin to run the show as far as the real world is concerned.

Add to that the emerging American identity of the post-war; Americans perceived they were rich, successful, and saved the world from an ultimate hero. Why stir the pot with the unpleasantness of social ills in our comics when the GDP is up and the babies are booming? Market pressure and the rise of the patriotic angle of WWII would push Superman to something less controversial, at least intentionally controversial, and into the broader and goofier (but still fun) tone of the Code-era books.

That is not the say the Code-era is bad. It gave us incredible comics, but something about Superman seemed off, maybe a bit diluted. Like the Kryptonite cuffs were on. While largely goofy and harmless to the powers that be, the books did take their shots, displacing the social ills of society onto the villains in compelling ways.

Enemies and Ideals

As exciting as it can be to watch Superman punch a robot or fight Doomsday, Metallo, or Toyman, Superman’s greatest enemy has always been the worst impulses of his adopted community. Superman’s villains are fascinating and represent all manner of social ills, but many early Superman comics we less about identifiable rogues and more about the issues of the day in the era the comics were written. However, even as the comics drifted away from these concerns, the DNA is still there, often concentrated on iconic villains.

My favorite Superman villains have always been Lex Luthor and Brainiac. Both characters lend themselves well to social justice themes and make for great antagonists for Superman, not only as the big blue guy but as Clark Kent himself. Lex Luthor is deserving of an exploration of his own; I feel much the same about Brainiac. But what I want to emphasize is the social justice angle of both that the best Superman stories featuring these characters tend to explore.

Lex Luthor

Lex Luthor is a character who is easy to write, but not so easy to write well. It’s too easy to dip into “evil businessman” and be done with it. Luthor is so much more powerful than that. If Superman is the socialist man of steel, then Lex Luthor is the capitalist equivalent. He is the pinnacle of Laissez-faire economics; a man so powerful he runs for President of the United States, wins, and the role is still less powerful than he actually has as Lex Luthor, genius, billionaire philanthropist.

Luthor is a chameleon – time and again he comes back the the bald look, which is incredibly iconic, but his appearance shifts many times, inspired by the perceptions of the rich and powerful of each age. In John Byrne’s era, Luthor appears as the platonic ideal of the corporate fat cat, slicked-back hair and cigar in hand.

Today, in the brilliant animated series My Adventures With Superman, he appears as a tech twink – a young upstart of Silicon Valley, because Luthor represents the worst impulses of capitalism at all times. One of those impulses is innovation for profit.

Of course, this all began with Luthor, the Mad Scientist of the Golden Age of comics. The relationship between science and capitalism is the story of America, and Luthor is just another figure in the long lineage of exploiters of innovation for profit. For-profit discovery – where science is viewed in potential market share and less about discovery for discovery’s sake.

The best stories that revolve around Lex Luthor pit him against Superman and Clark Kent, where Superman must use his powers to take on Luthor’s capitalistic science, but the clues are gathered and laid out by everyman reporter Clark Kent and the ever-iconic Lois Lane. In these stories, the depths of greed and depravity of economic-driven science are smashed by Superman and laid bare by the alter ego – the farm boy from Kansas bringing socialist ideals to the big city.

Brainiac

Much like Lex Luthor, Brainiac is an ideal foe for Superman. Brainiac and Luthor tend to have similar approaches to how they deal with their Kryptonian nemesis, and they are often paired to brilliant effect. Brainiac has a very complicated continuity and is sometimes an android from Colu, and other times a tool of the Kryptonians who betrays them in pursuit of data. I tend to prefer the latter, as it adds some extra heft to his encounters with Superman and the presence of the Bottled City of Kandor. it also seems fitting that Krypton’s imperial pursuits ultimately create the enemy within that destroys them.

Luthor and Brainiac are both avatars of avarice and greed. It is more tangible with Luthor – power and money – than it is with Brainiac. He is a kind of intellectual capitalist, akin to the most horrific museum curator one can imagine. He plunders cultures dispassionately with no interest in them beyond categorization into his worldview and his systems. Once he has what he needs, he leaves worlds as drained husks or outright destroyed and moves on to the next resource – uncollected knowledge.

Braniac’s modus operandi is not unlike the mechanisms of resource extraction, such as minerals and oil. It is just on a cosmic scale, and attached to a fairly sinister cultural imperialist angle where Brainiac is the arbiter of what is important, real, and valuable. The universe exists solely as data to be mined and categorized and perfectly preserved, regardless of who is occupying it, as they can always be included or removed at the whim of Braniac – the end-point of algorithmic thinking.

It’s hard for me to think about Braniac and not draw parallels to today’s information-based economy, corporatization of the internet, and the rise of Silicon Valley “altruists” to the levers of power. There is more to explore here, but I have digressed enough already.

Let’s get back to Superman.

Absolute Superman is Absolutely Awesome

All of the above was a preamble to establish the things that I view as my ideal Superman. Absolute Superman is the distillation of the ideal Superman. From what I have read, the first issue, Absolute Superman evokes these elements quite well, and there is a lot of potential. I am on the hook, and I hope that writer Jason Aaron can reel me in.

The following contains spoilers for the first issue.

The premise is simple: it’s Superman. The core of the character remains, but with some alterations that create a more contemporary, essentialist version of the beloved character and story. Take for example Kal-El, the man who will come to be known as Superman, who lived on Krypton with his parents for a time. This isn’t an entirely new conceit, but the political situation of Krypton here seems essential to the motivation and worldview of Kal-El.

Krypton is very much an empire of conquest through science, and is very hierarchical, with Kal-El being born into the planet’s working class. His parents, Jor-El and Lara Lor-Van are people who had the class system not been so draconian and exploitative, contributed great things to Krypton.

As with modern storytelling, the series employs the mystery box approach of leaving elements of Kal-El’s past a story to be unraveled over flashbacks. We get scenes on Krypton to establish an incoming ecological crisis, but Kal-El’s narrative places him on Earth. Specifically, Brazil, fighting for the rights and against the exploitation of the workers of a mining company.

I can’t begin to tell you how much that moment clicked for me when I reached that section of the issue. The trajectory of a socially-awoken Superman, exposed to the horror of exploitation of labor witnessed on Krypton, bringing liberation to the workers of Brazil. It’s inspiring.

Workers of the world, unite. Superman has your back.

The fact that the crest that adorns his chest, the iconic “S” emblem, is the marker of Krypton’s Labor Guild, is going about as left as you can with the character. At least until he starts beating down on jackbooted fascist corporate guards known as Peacemakers (what a joke) who are mad at the workers for not suffering enough to draw diamonds from the mine.

Add to that a not-so-subtle introduction to this version of Brainiac and his bottled cities, and a Lois Lane who takes after her soldier father, and we have a fun blend of iconic Superman features, but with some twists further enhance the leftist nature that has always been inherent to the character.

Revolutions are not easy – as Superman seeks to help the workers, he inadvertently harms them and must rectify it. That is if the system seeking to crush him under the heels of paramilitary action doesn’t kill him first.

I’m worried, but I think he’ll win in the end. He is the Man of Steel and his labors will be rewarded.

Absolute Superman #1 is available from DC Comics at your favorite comic book retailer. It was written by Jason Aaron, and illustrated by Rafa Sandoval. Ulises Arreola colors the pages, while Becca Carey is the letterer.

Thank you for reading Panel By Panel. I hope you enjoyed this first edition – I may take on some reviews with the next one. I just know that I am grateful for any opportunity I can to explore my love of comics.

I plan on writing something a little more in-depth about Luthor and Brainiac in the future, but that is going to require a little more research on my end. I’ve been reading these characters for years, but I am due to reread them to make sure I am writing the best explorations I possibly can. If you are particularly interested in seeing me explore these two iconic villains, please drop a line in the comics with key issues you think I should cover.

Also, if you have a comic you would like to review, please contact me. I would be happy to consider it for the column. You can always help fund my writing online through a donation.

The post Panel By Panel: My Socialist Superman appeared first on hpkomics.com.