Red Son

Nov 18, 2006 14:55

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 ( Read more... )

red sun, superman, comics, review

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searose November 18 2006, 15:36:30 UTC
Writers have wanted to do weird things with the character of Lois Lane. One of Marv Wolfman's ideas for the 1986-87 reboot was a riff on Citizen Kane, with Lex Luthor installed in a mountaintop 'Xanadu' mansion overlooking Metropolis, and at his side, Lois Lane, his kept mistress. And that would have been the introductory foundation moment of canon for Lois Lane for the next twenty years in-continuity, but the idea was shot down by John Byrne.

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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selenak November 18 2006, 16:32:30 UTC
Lois as Susan Alexander?!? Good think Byrne shot it down.

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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searose November 18 2006, 17:01:24 UTC
Maybe he would have been kinder and made her an analog of Marion Davies? But the gist was that Clark was to meet Lois for the first time when she was the sexual property of another man, his archnemesis-to-be, so I dunno about kind intents.

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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searose November 18 2006, 16:12:01 UTC
On that tangent, it sounds more like a comment on the middle class and how the middle class changed over time.

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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redstarrobot November 18 2006, 18:21:40 UTC
Being a property owner/wage earner used to be pretty key to your public participation in society. I have a feeling that was the original connotation of a citizen in the US. (In some states, women who owned property could vote long before the 19th amendment. New Jersey granted the vote to anyone, man or woman, with a certain amount of wealth or property, as soon as they became a state.)

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searose November 18 2006, 19:16:09 UTC
I think in the 1950s, an upper class American woman could be savvy enough to divorce well, if she wanted to do this and didn't run afoul of a misogynist of a judge. A character like 'Lois Lane', I'm not convinced she'd be all that concerned about loss of social status, maybe not so much monetary detriment. She's supposed to be an adventuring type, and was in the 20th century.

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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lilacsigil November 19 2006, 03:45:55 UTC
It seemed to me more of a comment on the Dark Knight Returns Superman than other incarnations - if Superman prefers to identify with a system and stability, what change does the kind of system cause to him? I don't think Millar is interested in a real communist economy (or indeed any economy!) so much as the symbol.

Also, Batman was still Batman, and he was awesome.

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londonkds November 19 2006, 11:14:57 UTC
I think that Millar's idea is that both Superman and Lex in this are absolutely mind-blowingly super-intelligent to the point of near-infallibility, so can get past the economic calculation problem and make a planned economy work (Lex's USA by the end is arguably a fascist rather than socialist planned economy).

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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selenak November 19 2006, 11:46:07 UTC
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 -

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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