Action Comics #41 discussion

[Superlad93]

Yes and no. I always like to see him with the people, but it shouldn't have to take him being depowered or exposed to do it. Superman, in full costume and with a secret identity, should be able to fight for and interact with the people by choice and not because he's been forced to do it. Plus, the person Morrison gave half the credit for helping the people was Clark Kent via his journalism at The Daily Star. In this issue, we find out that Clark was fired. However, that is of little consequence since the Superman books have done so little with his journalism. Geoff Johns just got him back there only for him to be booted out. Before that, in Perez's first issue, it was 5 years after Morrison's Superman had helped the people of the city, and in that issue Clark opts to drop a story about evictions in favor of writing a story about Superman. In Lobdell's first issue, Morgan Edge yells at Clark for having research about housing on his computer, and Clark quits the Planet. Yet, when given free reign at his own blog, he does zero work and doesn't go back to supporting the people with his articles. Sorry, then, that I'm less than enthused to see Superman get praised for doing something he should have been doing all along.

Well that's fine. Good to see they're focusing on it now. It'll be interesting to see how they address reporter Clark.

[Auguste Dupin]

It's a shame it was based on one story told in one issue by one writer almost four years ago. This version of Superman hasn't been written as a hero of the people who cared about the ordinary problems of average citizens for years now. I can't think of many New 52 stories that focused on how Superman's or Clark's interventions made the city a better place. Can you?

Not many,no. But at least he did make the city a better place in the New 52. In most versions (including most of Pre Flashpoint), Metropolis was already the great city of tomorrow when Superman gets there, and therefore he doesn't really improve it.

[Kuwagaton]

Pretty good. I can certainly see that if you loved Pak and Kuder before, you'd love them at least as much now. I think it's very strong in its direction, but I think if anything I'll just wait for the story to really pick up and get deeper, then come back to it.

[Auguste Dupin]

Anyone else feel like the splash page of Superman decking that shadow monster was a less the obvious homage to this




Or maybe I'm reaching bit?

Yeah, you're reaching.
That being said, it reminds me of of how much I actually love seeing Superman leaping. I'm not completely sure why, but I think I like leaping more than flying. I dunno, I guess that, while flying is elegant and gracious, leaping is more kinetic, more energetic. Like he propels himself using his own muscles, so there's a sense of making an effort.
But really, that whole sequence in the end where he starts running, jumps on the firetruck, and then leaps into action, just pumps me up.

[Superlad93]

I'm not completely sure why, but I think I like leaping more than flying. I dunno, I guess that, while flying is elegant and gracious, leaping is more kinetic, more energetic. Like he propels himself using his own muscles, so there's a sense of making an effort.
But really, that whole sequence in the end where he starts running, jumps on the firetruck, and then leaps into action, just pumps me up.

You and me both, man! And I don't know about you but it's got a different edge from say and Incredible Hulk leap. I don't know how to put it, but there's this amazing feeling you get when you see the normal human form just propel itself into the air like that. And the herculean nature of it is just so satisfying. It's everything that goes into it. The build up, the believable muscle contortions and gestures just before the leap is made. It fall feel so fun.

I really liked how he couldn't get over the whole building without a few "stepping stones". It really adds a little bit to it. More of that build up and release.

[Superlad93]

Ok so when Clark was using his cape as the equivalent of boxing gloves did anyone think of this?




I remember how the cape gave the boy strength to rise up both physically and mentally against his arc foe (abusive dad). The cape may be ripped to shreds, but it still seems to have it's same "magic". The magic that allows someone to feel like they're invincible, and like they can beat back their foes. Superman's still "got his cape on".

[K. Jones]

The blue collar man of the people was strong in this one.

I'm not going to compare it to Morrison's Action because for starters, he was telling his long-brewing "Superman vs. the Devil" storyline and also had the added caveat of having to retell Superman's origin for the New 52 in doing so. He had a lot to do in those 18 issues, and as is always the case with his work, 90% of the wild ideas he throws out there briefly and doesn't explore that much more are ideas we want to see more of and then never do.

Pak saw those things and is actually doing something with them. Long-term, without a fifth-dimensional time-bender cosmic satan story to deal with. Without having to rehash the Origin Story. Even Lee Lambert is essentially a callback to the Johnny Clark issues of Morrison's run, where the everyday heroism of firefighters was spotlighted bigtime. And seeing street-savvy man of the city Jimmy front and center in that movement makes perfect sense.

Clark's exposed identity is a perfect segue to get the "authorities" (at least, half of them) against Superman again so that he can be a social crusader and anti-authoritarian outlaw figure again. The gray area nuances of things like Lois reporting the news and exposing him, or Perry White essentially HAVING to fire him, rock and hard place style, make the thing feel more real and more relevant. And of course, it's always a fine thing to have a dose of the conspiracy in the margins. It'll be interesting to see how Lana and John Henry are faring now that they're probably "persons of interest". Like she hasn't had a crappy enough year.

I'm a happy Super-fan today. This was probably my favorite issue of a super-book since Action # 13.

Sidenote: anyone else notice Geoff Johns retcon Morrison's run in JL this week and go back to the "we had the rocket in the barn" origins? HYPERTIME IS REAL.

[Superlad93]

Clark's exposed identity is a perfect segue to get the "authorities" (at least, half of them) against Superman again so that he can be a social crusader and anti-authoritarian outlaw figure again. The gray area nuances of things like Lois reporting the news and exposing him, or Perry White essentially HAVING to fire him, rock and hard place style, make the thing feel more real and more relevant. And of course, it's always a fine thing to have a dose of the conspiracy in the margins. It'll be interesting to see how Lana and John Henry are faring now that they're probably "persons of interest". Like she hasn't had a crappy enough year.

It's my understanding that Lana and John are actually missing. Maybe some black bags and night raids were involved? I also can't wait to see how hang takes on the Lois and Perry side of things. It seems Action will be focused on the man of the people side of things while Superman the more personal side of things.

I'm a happy Super-fan today. This was probably my favorite issue of a super-book since Action # 13.

I think this is my favorite since issue 15 of Action.

Sidenote: anyone else notice Geoff Johns retcon Morrison's run in JL this week and go back to the "we had the rocket in the barn" origins? HYPERTIME IS REAL.

The man just doesn't care about continuity that isn't his own. I was pretty upset considering the part where the rocket get taken is one of my favorite ideas out of the new 52.

[Dr. Banner]

I just had to say, once more, that Action Comics #41 was brilliant.

[misslane]

Not many,no. But at least he did make the city a better place in the New 52. In most versions (including most of Pre Flashpoint), Metropolis was already the great city of tomorrow when Superman gets there, and therefore he doesn't really improve it.

I'm not so sure. In Byrne's Man of Steel, it's indicated that Superman improved the city.

"In the past forty-eight hours there've been no obvious crimes of any kind in Metropolis. Would it be immodest of me to take that as a sign that the underworld has gotten the message?"

"You've made quite a name for yourself since you went public, Superman. There's no noubt in anyone's mind that you're the number one defender of this planet of ours. But defending a planet and cleaning up a city are two very different things. You've got the underworld pretty much covered in Metropolis, Superman."

It was also a huge plot arc and thematic focal point in Secret Origin:

(more here)

[Auguste Dupin]

You and me both, man! And I don't know about you but it's got a different edge from say and Incredible Hulk leap. I don't know how to put it, but there's this amazing feeling you get when you see the normal human form just propel itself into the air like that. And the herculean nature of it is just so satisfying. It's everything that goes into it. The build up, the believable muscle contortions and gestures just before the leap is made. It fall feel so fun.

I really liked how he couldn't get over the whole building without a few "stepping stones". It really adds a little bit to it. More of that build up and release.

I think it might also be because the leaping really plays out with the idea of a "super man", in the sense that, well.....every one can jump, it's a basic human ability we all experienced at some point. We understand on a physical basis what jumping feels like. The crouching before the jump, the way your legs move.....we all get that, so there's a basic human element. And because of that, it's even more impressive to see Clark jumps way higher than we could ever hope to.
Plus, it ha a pure "action feel" to it. The effort, the uncontrolled fall.....it feels physical, therefore impressive, therefore awesome.

[Auguste Dupin]

I'm not so sure. In Byrne's Man of Steel, it's indicated that Superman improved the city.

"In the past forty-eight hours there've been no obvious crimes of any kind in Metropolis. Would it be immodest of me to take that as a sign that the underworld has gotten the message?"

"You've made quite a name for yourself since you went public, Superman. There's no noubt in anyone's mind that you're the number one defender of this planet of ours. But defending a planet and cleaning up a city are two very different things. You've got the underworld pretty much covered in Metropolis, Superman."

It was also a huge plot arc and thematic focal point in Secret Origin:

(more here)

The second quote (from Batman, if I'm correct) kinda states the opposite of what you're saying, since Batman is basically saying "okay,you're useful when it comes to alien invasions, but when it comes to cleaning cities-especially my crime riddled city Gotham- not so much".Ho sure, he says something about Superman keeping Metropolis' crooks under control,but there never was the sense that said crook were much of an issue to begin with. Overall, the general feel John Byrne's version gave is that Metropolis was a pretty decent place even before Superman. Morrison's, on the other hand, was in its own way a pretty bad place until Superman cleaned it up (it's one of the few things Perez' run got right).
Now, if we're talking about New52 Superman making a difference in general, then yeah, the guy has a few examples. Morrison's run is full of that, but even the last Batman/Superman arc was all about the positive influence Clark had on people.

[misslane]

The second quote (from Batman, if I'm correct) kinda states the opposite of what you're saying, since Batman is basically saying "okay,you're useful when it comes to alien invasions, but when it comes to cleaning cities-especially my crime riddled city Gotham- not so much"

Yet, not only is Batman likely to be dismissive and defensive about Superman's capacity to effect city-wide change given his own experiences with it but both quotes do indicate that when it came to Metropolis' crime "underworld," Superman did make a positive difference. Thus, Superman improved the city -- something which was also very evident in Secret Origin. Morrison's decision to portray Superman as improving the city is not revolutionary genius on his part. It was a good idea when other writers did it, and it was a good idea when he did it.

What's a shame, though, is how this "Truth" arc contextualizes Superman's populism. He didn't choose to act like more of a man of the people by dressing the way he is or riding a motorcycle. He didn't choose to hang out with these people either. He's been forced to do it by circumstance. Consequently, Pak and Yang are essentially validating those who have criticized Superman in the past as being unable to relate to readers and unable to relate to humans within his own narrative world because his superpowers and secret identity acted as an alleged barrier. It seems to them, we can only empathize with Superman as an underdog when he literally is an underdog like us (i.e. he is more like us physically) than doing the harder thing, which is showing that even with all of his power and even with a secret identity, Superman is still a character who fights for the little guy as a superhero and reporter and is still a character we can root for and relate to.

[dumbduck]

I'm loving everything I've been able to read up till now. Lee Lambert, the sergeant, Jimmy! I can't wait for Lois' story. I think Lex will make fun of him, he'll just not be able to understand why Clark did what he did. Perry. Also, this was only his neighborhood. We'll still have to wait to see how all of Metropolis reacts.

[Francisco]

Yet, not only is Batman likely to be dismissive and defensive about Superman's capacity to effect city-wide change given his own experiences with it but both quotes do indicate that when it came to Metropolis' crime "underworld," Superman did make a positive difference. Thus, Superman improved the city -- something which was also very evident in Secret Origin. Morrison's decision to portray Superman as improving the city is not revolutionary genius on his part. It was a good idea when other writers did it, and it was a good idea when he did it.

What's a shame, though, is how this "Truth" arc contextualizes Superman's populism. He didn't choose to act like more of a man of the people by dressing the way he is or riding a motorcycle. He didn't choose to hang out with these people either. He's been forced to do it by circumstance. Consequently, Pak and Yang are essentially validating those who have criticized Superman in the past as being unable to relate to readers and unable to relate to humans within his own narrative world because his superpowers and secret identity acted as an alleged barrier. It seems to them, we can only empathize with Superman as an underdog when he literally is an underdog like us (i.e. he is more like us physically) than doing the harder thing, which is showing that even with all of his power and even with a secret identity, Superman is still a character who fights for the little guy as a superhero and reporter and is still a character we can root for and relate to.

I don't get what you're saying. Before Truth Superman was already living in that part of the city and interacting with his neighbors. He has been a man of the people since the beginning of THE New 52. Pak and Yang are simply telling another story/adventure in the life of Clark Kent/Superman/Kal El.