Following a recommendation from
londonkds, I've read Mark Millar's Red Son, aka the Superman AU in which his pod crashes in the Soviet Union instead of Kansas. Which was interesting to read and shared several elements with JMS' more recent Supreme Power, notably of course the idea of the Superman character raised to love the state and being driven towards
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I've glanced through Red Son. Some people I play around with do like the graphic novel. I might have a hard time buying into necessary naivete on the character's part, since one of his powers is extraordinary hearing. The entirety of the USSR would not have been soundproofed; the guy would have heard an awful lot being said and done even if the Superman analog thought of the Stalinist state as a lawful entity. (Handwave for the conceit's sake, yes, I know.)
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Re: naivete - I read an interview in which Millar declared that just as Vietnam didn't taint "real" Superman, the gulags etc. don't taint "Soviet" Superman. But it does clash with his powers, as you say. I think JMS handled it better with Mark Milton who early on just tries very hard not to know because he wants to keep on believing in his parents, and then after denial breaks down knows it all.
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Yeah, the post-Crisis Kents were also known to be aware of their son's eavesdropping abilities. Couple of times, "Careful. He *can* hear us," when they were discussing him amongst themselves. Not in the sinister vein of Milton's upbringing, but just acknowledgement (from the various writers) that the Kent household was short on privacy and circumspect about confronting this in the open.
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My grandmother was a middle class businesswoman who owned various enterprises (businesses, buildings) in the mid-1930s onward. Her husband, my grandfather, was a travelling salesman for a local corporation. The banks dealt with *her*, rather than waiting around for my grandfather to be in town. I think it was a case of banks of that time being more willing to trust women who were proven income-earners or who held collateral in their own names.
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Okay, in comics' matters, it would be *forgivable* if Lois Lane divorced Lex Luthor, the more spectacular that show, the better. Maybe not in-story, if Luthor was a good husband to her there, but in the minds of readers not used to that pairing at all. In Red Son, it does serve as a memorable twist that the two are a married couple, very outré of Millar.
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Also, Batman was still Batman, and he was awesome.
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I really do think the best things about it are the central characterisation of Superman and the very thoughtful and amusing variations on standard DC canon. I think the origin story of Batman is the absolute high-point, because of the perfect ideological inversion of someone who remains exactly the same character - standard Batman sees his parents murdered by a random criminal and becomes one of the most law 'n' order obsessed of superheroes, to the point of sometimes being actually written as an authoritarian Conservative, Red Son Batman sees his parents murdered by the secret police and becomes an extreme right-libertarian.
What does give me problems in Red Son is, what exactly, is meant by the ending, because it does ( ... )
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Agreed. The most clever thing about the comic.
What does give me problems in Red Son is, what exactly, is meant by the ending, because it does seem to argue that Lex can bring utopia to the Earth despite being a brutal totalitarian bastard
Same here. As I said, it seemed to negate the main point. Though perhaps Millar just loved the irony "Lex Luthor by defeating Superman creates paradise on Earth" and didn't bother to think about the implication or politics at all...
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