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#krypton spoilers
noblechaton · 10 months
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also these machines in the flashbacks have these 3 dots connected by lines on their chests and stuff so just to be clear that's like 100% Brainiac stuff lmao. almost certain on this
and that means that this guy is probably Brainiac himself
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swan2swan · 10 months
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I absolutely love, love, love the use of Dramatic Irony in My Adventures With Superman.
Clark's going into a full existential crisis about his role in the world, thinking he's a weapon and an invader and that his purpose is to destroy and conquer (bringing that whole Goku thing full-circle). But we, the audience, who fully know Superman's story, know that he's Got It All Wrong.
We know his parents loved him and put him in a pod (we even saw it, though he didn't understand himself), not to send him out for conquest, but to get him clear of an exploding planet. We can assume that he either rocketed through the portal before it collapsed, or he made a long journey through space to the same destination (or took a different portal) and landed on the Kent farm without detection...but Clark doesn't know that at all. Neither does anyone else.
So our boy is over here suffering and stressing and freaking out when he's really the planet's first chance to start a culture of heroism and kindness.
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anntickwittee · 17 days
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I gotta say I'm not sold on changing Krypton from a peaceful planet into the Viltrum Empire.
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kara-zor-els · 17 days
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"We found an enemy we could not defeat" and what looks suspiciously like omega beams. OK.
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dio-icarticaae · 10 months
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Holy shit, holy shit, holy shit. That was an amazing end to the first season! Only complaint is that the season was too short, I need more episodes!!!!
I am really interested to see where they go with the next season - was that General Zod at the end with Brainiac?? What was Krypton like?
And it's so poignant that Clark is so scared of himself and what he's capable of that he isolates himself and is willing to martyr himself at the drop of a hat, but Jimmy and Lois and Ma and Pa are all there to tell him that he's good person, a kind person, that his fears for himself could never come to pass because of who he is.
And of course the fact that Task Force X and the U.S. government are doing the very thing they claim they want to stop, and their actions are what caused Clark to step up to become Superman in the first place. But of course, they can never make a wrong decision so they keep plowing straight ahead.
My Adventures of Superman also does such a good job at showing that Superman is an immigrant story - people tell him to "go back to where he came from" and are nowhere near as scared of Task Force X or the villains with the stolen tech, who are actively harming people. Instead, they're suspicious of Superman because he's different, he's foreign. And so they completely miss that the real threat is much, much closer to home.
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megadan94 · 9 months
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I've just seen the character descriptions of the production art, and I think they paint a clearer picture of what's going on with Clark's ship and Zero Day.
They used the ship to "smuggle" him, meaning that the ship wasn't entirely theirs and wasn't officially meant for that purpose. That's why Brainiac takes over, invading was the ship's official purpose, Clark was just a stowaway. The hologram was likely only meant to pilot the ship, but because it was also a copy of Jor-El, it could serve an ulterior motive.
Now this begs the question:
Did Jor-El organise Zero Day? Because it was happening at around the same time as Clark was sent off in the ship, i.e. just before Krypton exploded, and it would be the perfect excuse to open a portal to Earth.
The invaders didn't seem prepared for the explosion, but if Jor-El knew in advance, which he does in most versions, then he could've timed the invasion so that it lasts just long enough for Clark's ship to get through, but then is cut off by the explosion. They also have invisibility tech, as evidenced by Mist.
Maybe Clark has things backwards? He wasn't meant to serve the invasion, the invasion was meant to serve him, it was an excuse given to Krypton's leadership so that he could be smuggled to Earth.
I think this is something he starts to understand at the end, that everything his father does, good or bad, is for him.
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balis77 · 10 months
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The General: "We know your planet has been planning to invade for the last 25 years Superman. You can't lie to us."
Clark: "Have... you... actually like... checked if its still there...? Pretty... sure... got a vision... of it... blowing up..."
The General: "Of course we've..." *Checks* "...Oh."
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xaeydnquartz · 17 days
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Season 2 of My Adventures with Superman!!!!!
Alright, first things first. I LOOOOOVE that its back!!! Now on to the bread of this post.
Overall, i really liked the first two episodes. It gives us a nice look on what to expect from this season going forward and as always art and animation is gorgeous. However, there were some aspects i wasn't so fond of.
Firstly the whole concept of Krypton being a civilization of world conquerors. Idk, it just felt too much like Invincible's Viltrum empire for me to be fully onboard with it. Like dont get me wrong, i can still get with it since Zod and his warriors kind of fit that theme, but it just feels a bit off to have that concept be for all of Krypton. Especially when you think about previous iterations and how it had them more as a Science Empire that fell due to their own hubris. Secondly how....whats the word im looking for....dismissive?...Just how dismissive Lois seemed towards Clark's feelings in regards to her dad and also how he was treating her but mainly to his feelings about finding his long lost Cousin. However, i say this with the acknowledgment that it seems lois doesnt realize that Clark and Kara are the (supposed) last of their kind. Either way, just tiny little knit picks that sorta rubbed me the wrong way a bit, but overall didnt get in the way of my enjoying the show.
Cant wait to see what's in store for Clark and the Gang
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arabella-s-arts · 16 days
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After watching the first two episodes of MAWS season 2 I can confidently say...
Lois what the #$%#!
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bobbinalong · 1 year
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i need a different writer on jon kent asap, bc why does he have so much chemistry with this random ass dude he just met while jayjon had to meet the way they did.
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nianaltor · 1 year
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LAZARUS PLANET: ASSAULT ON KRYPTON (2023) #1 written by Nicole Maines art by Skylar Patridge
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takaraphoenix · 2 years
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MY GIRL?!?!?!?! IN MY YOUNG JUSTICE? FINALLY?
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jesncin · 6 months
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Coddling Colonizer Guilt
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"Performative diversity is when MAWS features a Native American variant of Lois Lane in the multiverse episode only to end the season on a Thanksgiving episode."
...is something I like to joke with my friends as a shorthand for referencing MAWS' squeamish approach to politics while still trying to reap the clout of "diverse representation". I want to get my thoughts out there and perhaps start a discussion over why this feels off.
Some disclaimers: Firstly, I'm not Native American. Understand this is an observation I'm making from an outsider perspective with no personal authority. I'm just a disappointed Asian Lois Lane fan. Secondly, I know the MAWS crew/creators had no malicious intent in any of these (what I consider) poor writing decisions. I'm simply here to challenge and analyze these narrative and visual choices.
MAWS takes a fairly controversial take on Superman mythos so far. Unlike Superman's historic roots as an allegory for Jewish immigrants with Clark coming from a Kryptonian socialist utopia (leading the imperfect people of Earth to a better tomorrow), MAWS chooses instead to reimagine Superman as a descendant from a planet of "alien invaders". If the leaked(?) concept art (warning potential spoilers for s2) is to be believed, Clark is the direct descendent of the leaders of the "Kryptonian Empire". Supposedly gone are the parents of Superman being scientists that warn of the destruction of their home planet- instead we have the "proud, loving, brilliant" "leaders of the Kryptonian Empire".
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While we don't know if this is the direction the show is going in, there are already cryptic hints of it being planted and thematic elements set up that point to it being a possibility. Clark had spent a majority of the season wondering what/who he is (being incapable of talking to Jor-El's hologram because of a language barrier) only to find out his supposed origins in episode 9. He's devastated learning that he's an alien invader and, once he regroups with his friends, angsts about believing he's a weapon sent from Krypton to invade Earth. Asian-Lois Lane and Black-Jimmy Olsen assure White-passing-alien-man Clark Kent that he's different and not like other colonizers. Clark ultimately saves the day, proving he's an exception. It's curious then that the season ends on Thanksgiving.
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As I've mentioned before, MAWS is exhaustively squeamish with getting political. Whatever happens in the show that resembles "themes" is quickly contradicted with very little consistent internal logic. One minute Superman is supposedly a threat that "wipes out good American jobs", should "go back to where he came from" and Lois makes a hope speech about how we shouldn't treat people who "are different" and "don't look like us" (??) with cruelty (so Clark's an immigrant going through xenophobia?) and the next he's a redeemed colonizer (a more prominent thematic arc). One minute Clark is "different" and scared of being othered- likened to a gay couple and allegorically closeted, and the next his friends call him out for being a lying liar for not disclosing his marginalized identity within a week (the narrative frames Lois and Jimmy as being in the right). This show's writing is non-committal with what it wants to say, and largely goes on vibes. That is to say I don't think the writers intended for the themes of colonizer guilt to accidentally tie into Thanksgiving as a set piece for their final episode.
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I'm sure the reason the writers chose Thanksgiving as their final episode is because it's "relateable". Half the episode is dedicated to slice of life family reunion shenanigans and the dang turkey still not being cooked through. But in choosing Thanksgiving, the writers told on themselves here with their biases. The existence of Thanksgiving implies the existence of genocide (of Native American people) by colonists in the MAWS universe. And yet Black Jimmy Olsen doesn't know what racism is (Mallah and the Brain give him a judgmental stare as Jimmy admits he can't relate to being violently marginalized) and Asian American Lois Lane doesn't understand immigration and xenophobia (constantly being entitled to Clark's immigrant identity, being incapable of comprehending why he would keep it a secret, because secrets are lies). The MAWS crew wanted a "relateable" set piece but in doing so ended up reinforcing the historical revisionism the holiday entails. A foreign colonizer sharing a meal with his friends of color on Earth, whose culture, history, and identity are all white washed.
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I would like to challenge this idea that Thanksgiving is somehow the "relateable" choice. Why pick this holiday? Why not celebrate Thanksgiving as a National Day of Mourning (as some Native Americans do)? Why not pick any Jewish holiday as a nod to Superman's creators (ignoring this version's colonizer interpretation for a second)? Why not pick Lunar New Year, a holiday celebrated by many people including Koreans (Seollal in South Korea)? It could've been another fun opportunity to showcase Lois' heritage, and create a fusion of cultures from Jimmy and Clark's families. At its most non-political and secular, why couldn't they pick any weekend? This is what happens when a show doesn't consider its world building and setting in a holistic way. MAWS will nod to xenophobic rhetoric, portray allegorical queer marginalization, and make the vaguest nods to systemic bigotry (Prof Ivo displaced a whole neighborhood! Yet we never hear from those figurative displaced people). But it does nothing to discuss any of that on a deeper level. Its characters of color don't know what racism is and Thanksgiving is just a fun family reunion, guys.
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All this and they had the audacity to sneak in a Native American Lois Lane in the multiverse episode?? Why is she, out of all the Lois Lanes in this screencap, the only one in full traditional wear? Why isn't she in a smart casual business fit like Black Lois and STAS white Lois? Would she not have been recognizably Native American to the non-Native audience otherwise? Isn't this tokenizing? Do you think she has a xenophobic dad in the military like Korean American Lois does?
But that fits MAWS' approach to diversity, doesn't it? Surface level cultural nods, maybe make Lois wear a hanbok one time, and let the audience eat it up. Never mind that both Korean American Lois and Native American Lois have been stripped of their culture and history in every other aspect.
I use the word "relateable" a lot here, but I think the important question to ask is "relateable for who?". 'Immigrant' is too charged a word, so MAWS universalizes Clark's marginalization to "being different". Superman isn't even an immigrant in this version, that was all a smokescreen for the twist that he's actually a descendent of colonizers! Being wracked with colonizer guilt is way more relateable to the white audience than being an immigrant, surely. Thanksgiving is more relateable than celebrating any culturally specific holiday our "diverse reimagining" could have represented. Characters of color being functionally white (in a way that doesn't threaten middle America) is way more relateable. MAWS is a show that doesn't want to delve into Native American history. It would rather put a Native American Lois hologram on a pedestal and call it a day.
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nightwolf14292 · 2 months
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Dick Grayson Canon Lore Stuff:
(TW for Batman stuff, like spoilers and mention of injury/death) Hello, I know very little about the canon Batfamily because I can't exactly just read all of the comics (there's way too many, and they're very expensive T-T) so instead I spent like an hour reading the entire Fandom . com entry on Dick Grayson, and this is pretty much my timeline of important events that I got from that (I'm typing this in hopes that it'll help me remember it).
Dick Grayson Canon Lore Stuff:
•From a very young age Dick Grayson was trained as an acrobat, hence his job as a performer in his family's circus act.
•When he was eight years old, he overheard a well known crime boss threaten the circus performers if he wasn't paid by the circus owner. The owner didn't pay him, and that night Dick witnessed his parents high wire snap, leading to both of their deaths. (He felt responsible for not warning them)
•He was put into a juvenile service system, because social services in Gotham were full. In this system he was often beat up by the others, which led to him eventually being put into a Catholic orphanage instead.
•Bruce Wayne adopted him, but Dick didn't want to replace his deceased dad with a 'stuck up' billionaire, plus he felt like Bruce didn't give him enough attention (Probably because Bruce was still dealing with the trauma of his own parents death and didn't like getting attached to people in case he lost them as well), so he snuck out in hopes of solving his parents murder himself.
•He met Batman, also investigating the murder, which led to him finding out that Batman and Bruce Wayne are the same person.
•They find the crime boss, but he 'dies of a heart attack' before he can be arrested.
•Since Bruce saw so much of himself in Dick, he asked the boy if he wanted to become his sidekick and Dick decided to name himself 'Robin' after what his mother used to call him.
•He was trained for six long, hard months before he was allowed to do any real missions, and he had to go through one full night eluding Batman without help before he was allowed to officially become Robin.
•For the first year or so Dick had a lot of fun with his job, and treated it as a fun adventure he and Bruce participated in together.
•That was until he had a fight with Two-Face, in which Batman and the DA were both stuck in nooses. Dick cut the rope around the DA with a Batarang, but Two-Face had crafted a double trap and this made the floor fall out so the DA landed in a pit of water in which he drowned. This was Dick's first time witnessing an on-the-job death which would serve to haunt him for years to come, plus he got himself a beating from Two-Face (Okay but like, wouldn't he have been like 9 or 10 max Jeezums- 😭🖐).
•Bruce temporarily 'fired' Dick, not wanting to see him get hurt any more.
•Dick served as Robin for a while longer, still working with Bruce and also forming his own Titans team.
•When Dick was 17 he got shot in his shoulder by the Joker, which prompted Bruce to officially fire him out of fear for his safety. Dick decided that he didn't need Batman anymore, plus he had some issues with the way Bruce did things, so he moved from Gotham to New York to be more involved with the Titans, and he dropped out of highschool.
•Bruce didn't really like this, and told Dick that if he was no longer going to work with him he would have to retire the Robin title. Dick left Wayne Manor afterwards, and handed over leadership of the Titans to Wondergirl.
•Unsure of himself and what he should do now, yet not wanting to give up crime fighting now that it was such a big part of his life, he went to find Superman. For a brief while Dick stayed with Superman, and Superman told him of a Krypton hero who had been known as Nightwing. Because of this time with Clark, Dick decided to finally become his own hero free of Batman. He named himself Nightwing after the Krypton hero, and made himself a costume based off of something his father once wore back in the circus.
•Now as Nightwing he helped lead the Titans, though his relationship with Starfire was worsening over time.
•Jason's death was a bit of a turning point in his character. Even though originally he hadn't seemed to like Jason (mainly because Jason acted as his replacement, and because of his not so great relationship with Bruce) Dick seemed to grow into a kinder/gentler person after the event.
•A while after this, Dick discovered that the mob boss who had killed his parents was not actually dead but was in a coma instead. Dick went looking for him, but witnessed him being gunned down before he had a chance to do anything for himself. Bruce claimed that he was worried that Dick would seek revenge for his parents death if he knew the truth, so he told the young boy that the mod boss was dead instead. Dick was obviously upset because of this, and his relationship with Bruce stayed strained.
•While he was still serving with the Titans, Tim Drake sought him out and asked him to return to being Robin (Because after Jason's death Bruce was going crazy without a Robin by his side), but Dick refused because of his bad relationship with Bruce and his enjoyment for his current job. He did help Tim become Robin, though.
•A lot of bad things happened with the Titans, people passed, people left, people changed, but Dick fought to stay the heart and center of the team through it all.
•Despite their strained relationship, Dick tried to impulsively marry Starfire, but the ceremony was interrupted, which eventually led to Starfire leaving and returning to her home planet.
•Bruce was brutally injured by Bane, but because his relationship with Dick was so bad and he didn't want to 'force' his son to return, he temporarily gave the Batman title to the not-so-stable Jean Paul Valley, with Tim there to help him out. Jean proved too unstable, however, and Dick returned to Gotham to help Tim deal with him. Dick decided to step away from the Titans to focus on Gotham, and the still healing Bruce asked him to be Batman until he was alright again which Dick agreed to.
•During his time acting as Batman, Dick built a great brotherly relationship with Tim. In addition, Bruce admitted that he hadn't originally asked Dick to act as Batman for him because he didn't want to force him to come back, and the two finally began to fix their relationship.
•Dick pretends to be a villain working under Deathstroke for a while, until Deathstroke betrays him and kills at least 100,000 people with a bomb. Dick tries to find and help any survivors, but is unable to because of the radiation which weighs heavily on his mind. He also proposes to Barbara Gordon around this time.
•Dick recovers and Bruce asks him to join him and his current Robin in rediscovering his roots. Dick is hesitant, but Barbara insists that he helps, and suspends their engagement for the time being.
•Dick returns to the Titan's tower, because there's someone there pretending to be him. Turns out it's the revived Jason Todd!
•While on a case, he gets buried alive by a mysterious voice that tells him he's 'supposed to be dead'. He has a hard time finding work because he's in a cast, and is having some trouble due to his injuries.
•By this point his relationship with both Bruce and Tim have improved dramatically, and he's close with both of them.
•The Titans decide to reform their group.
•Okay I'm gonna try and put this as simply as possible… Bruce was targeted by a group called 'Black Glove', supposedly going insane and running away. Dick doesn't want Tim to have to deal with everything himself, so he returns. He gets kidnapped and drugged by the International Club of Villains and is scheduled for a lobotomy, but gets out of it because Bruce's 'insanity' was made up to expose the Black Glove. Batman fights with Doctor Hurt on a helicopter, but the helicopter explodes. Batman is fine and works with the Justice League, but then is seemingly killed in his confrontation with Darkseid. In his will, Bruce begs Dick not to become Batman. Because of his refusal to become Batman, someone else takes up the job instead, calling himself Batman but using lethal methods that Bruce would never allow. This 'Batman' is actually Jason Todd, who shoots Damian and almost kills Tim with a Batarang. Dick and Jason fight and Dick shoves Jason off of a speeding train, seemingly killing him though Jason says they'll 'Meet again soon'. Dick finally decides to become the official Batman, but refuses to make Tim his Robin because according to him, he sees Tim as his equal and not his sidekick. He instead makes Damian his new Robin, which of course pisses off Tim. Tim, believing Bruce to be alive, takes up Jason's old Red Robin mantle and goes searching for Bruce. Dick moves base because the Batcave reminds him too much of Bruce, and struggles because Damian is constantly reminding and taunting him over the fact that he will never truly be able to replace his father. When he next fights Jason, Jason remarks that if the Lazarus pit could revive him, it could revive Bruce too as he's being arrested.
There's quite a bit of stuff that happens in between here, most notably the death of a young boy called Baby D which influences Dick's future character, but since I've been typing for hours:
Thinking about what Jason said, Dick takes Bruce's body from his grave and takes him to the Lazarus Pit. While it does reanimate the corpse, the revived 'Bruce' is angry and violent. This is because it was never Bruce at all, it was actually a clone of him. This gives Dick, Damian, and Alfred a similar hope to Tim, that Bruce is actually still alive. Tim brings evidence that Bruce is actually lost in time, and after a bit of digging and more evidence finding, they manage to bring Bruce back.
•Dick finally becomes Nightwing again, now with red on his costume which reflects his darker and more grim outlook on life and humanity after his time as Batman.
•Nightwing gets stabbed on a mission.
•He also, on a different mission, momentarily dies but they manage to start his heart again.
•Dick puts down his Nightwing title for a while and becomes a secret agent for Bruce, but the wiki has no info on this.
•Dick goes back to being Nightwing, finally returning to his original black and blue suit instead of the black and red one. He reforms the titans, but after working with them for a bit, but ends up moving back to Blüdhaven soon after.
•Someone is sent to assassinate Dick, and he gets shot in the head. He manages to survive, though he has amnesia and for a brief while becomes 'Ric Grayson' until he gets his memories back. When Ric tries to restore his memories he is kidnapped by the Joker who brainwashes him into believing that he was the Joker's sidekick, though he's eventually rescued and gets his memories back. After this event, he officially rejoins the Batman Family as Nightwing.
•There's no info after this.
Extra fact: While not mentioned in the fandom wiki, Dick Grayson was r[😬]ed by a female villain named Tarantula. (As in yes, he has a nice ass, but he would canonically be very uncomfortable with how some parts of the fandom oversexualize him.)
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longwuzhere · 9 months
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Some cool Easter eggs I caught watching My Adventures with Superman that I want to show to people so they can be in on it with comic book readers
My episode 1 easter eggs and references in My Adventures with Superman post is here
My episode 2 easter eggs and references in My Adventures with Superman post is here
My episode 3 easter eggs and references in My Adventures with Superman post is here
My episode 4 easter eggs and references in My Adventures with Superman post is here
My episode 5 easter eggs and references in My Adventures with Superman post is here
My episode 6 easter eggs and references in My Adventures with Superman post is here
My episode 7 easter eggs and references in My Adventures with Superman post is here and here
My episode 8 easter eggs and references in My Adventures with Superman post is here
My episode 9 easter eggs and references in My Adventures with Superman post is here
My Easter eggs and references in My Adventures with Superman comic issue 1 post is here
(SPOILERS if you haven't seen the show yet):
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We start things off with Jor-El and Clark meeting and like the last time, Jor-El speaking in Kryptonese much like how Jor-El in the comics did in Man of Steel #6 (1986)...
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as seen in this panel (W&P: John Byrne, I: Dick Giordano, C: Tony Zuiko, L: John Costanza) where Clark meets a ghostly projection of his father at night speaking Krypton's native tongue to him. BTW Man of Steel (1986) is a fantastic read. Highly recommend finding it at your local comic shop.
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After Lois, Jimmy and Clark get promoted from interns to reporters at the Daily Planet we see the three of them will be having Thanksgiving with the Kents. Ma Kent shows Lois the newspaper she framed that all three of them wrote much like how her comic book counterpart made a scrap book out of the newspaper headlines of Clark's various heroic adventures in Man of Steel #1 (1986) as seen here in the panel (W&P: John Byrne, I: Dick Giordano, C: Tony Zuiko, L: John Costanza).
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The camera then moves and see see kid Clark and the things he did back then. The baseball photo kinda reminds me of this fantastic moment in Batman/Superman #3 (2013) by Greg Pak, Yildiray Cinar, Matt Lackey and John Kalisz, and Rob Leigh:
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On Earth-2 Clark and Bruce met as young kids after the car, Alfred drove broke down and both had some fun playing baseball. It's a very cute flashback that highlights no matter where in the multiverse, a Superman-Batman friendship is constant.
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Lois's father shows up to the Thanksgiving dinner and I got double confirmation now that it is General Sam Lane. I talked more about his deal here.
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Later in the episode we have the awkward parents and their children who are dating each other moment and General Lane here asks if Clark was in the military. In one non-canon series, Superman Year One by Frank Miller and John Romita Jr., Clark signs up for the military after high school. Kind of a weird miniseries, not the best Superman comic, not the worst at least.
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Things go from bad to worse when the area where Clark landed activates thanks to the presence of Kryptonite from the League of Lois Lanes sphere that held it and we see that symbol on the robots that the giant ship sends and on this person at the end of the episode. If you know your DC universe, that symbol belongs to Brainiac and we can conclude that the one with the symbol on their head is Brainiac as well.
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Brainiac makes his first appearance in Action Comics #242 (1958) (cover art by Curt Swan and Stan Kaye). At this point Brainiac was a "twelve level" intellect alien who shrunk cities for his collection to help repopulate his dead planet, one of the cities is Krypton's capital city, Kandor. Several retcons later we learn that Brainiac is a robot created by the Computer Tyrants of Colu, Brainiac's home planet to spy and conquer worlds. The Brainiac that has a closer connection to Clark and his Kryptonian people kinda like what MAwS is doing was in Superman the Animated Series...
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where Krypton was very depended on their AI, Brainiac who then screwed them all over when the planet was about to explode and saved his metal ass and has then became a thorn at Superman's side in the cartoon ever since. MAwS is doing something similar as we see Brainiac's symbol on the robots that were deployed from the ship and the very robotic looking body Brainiac has at the end of the episode.
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As we see Clark try to stop the portal and ship, he breaks into the hull and battles the robots in it. As he's getting pummeled, AI Jor-El helps neutralize the robots. It's kinda the same idea that what Man of Steel (the movie) was trying to go for when Lois was on Zod's ship and AI Jor-El was helping her navigate throughout the place. As I said before in the last post, Shin Ultraman is a better Superman movie (and a highly recommend watching) than what Zack Snyder was trying to do in Man of Steel.
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We wrap up episode 10 with the Kents, Lois, and Jimmy enjoying a Thanksgiving dinner and we see that Jonathan was able to get the turkey to temperature so Clark heats it more with his heat vision. Superman sometimes does this do heat very mundane things like coffee as seen in this panel of Super Sons #9 (2017) (W: Peter Tomasi, P&I: Jorge Jimenez, C: Alejandro Sanchez, L: Rob Leigh). Highly recommend reading Super Sons and watching the animated movie too!
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Congrats to Jimmy on selling Flamebird for $5.6 million. I talk more about flamebird here. Missed opportunity to have it be $5.2 million cuz DC's love of the number 52, but whatever.
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The final scene of the episode gives us this moment where Brainiac tells this Kryptonian Warrior a planet they can conquer. The warrior then states that Earth will kneel. The most infamous Kryptonian that likes to mention conquered people kneeling is General Zod and so this character here might be Zod. No confirmation yet but I'm like 99% sure. When we get a confirmation, I'll talk more about Zod later.
And with that we are done with season 1 of My Adventures with Superman and if you made it this far be sure to check out my other easter eggs post:
My episode 1 easter eggs and references in My Adventures with Superman post is here
My episode 2 easter eggs and references in My Adventures with Superman post is here
My episode 3 easter eggs and references in My Adventures with Superman post is here
My episode 4 easter eggs and references in My Adventures with Superman post is here
My episode 5 easter eggs and references in My Adventures with Superman post is here
My episode 6 easter eggs and references in My Adventures with Superman post is here
My episode 7 easter eggs and references in My Adventures with Superman post is here and here
My episode 8 easter eggs and references in My Adventures with Superman post is here
My episode 9 easter eggs and references in My Adventures with Superman post is here
My Easter eggs and references in My Adventures with Superman comic issue 1 post is here
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that-ari-blogger · 3 days
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"Do you want to know a secret?" (The Portal)
I think that the rules of writing are overblown.
Don’t get me wrong, there are things you should and shouldn’t do when telling a story, but those are more guidelines than actual rules.
Case and point, She-Ra is a story predicated on repetition, which shouldn’t be as entertaining as it is. The “bad ending” is effectively another season, which is a unique premise, and a threat that the story absolutely delivers on multiple times.
But, to me at least, the story is enthralling, and keeps me coming back to it. It works, not despite its repetition, but because of it.
Although, that isn’t exactly true. I’ve described the story as cyclical before, but it isn’t entirely. It’s a spiral, because the cycle of abuse is an innately unstable dynamic, and will only end in tragedy if it isn’t broken.
If you don’t want to take my word for this, I give you the season 3 finale, The Portal, which spells out the series’ thesis in about as blunt of a way as is possible.
Let me explain.
SPOILERS AHEAD: (She-Ra and the Princesses of Power, Watchmen, Batman: The Killing Joke, Superman: For The Man Who Has Everything, Justice League Unlimited)
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I grew up reading Alan Moore comics, and if you don’t know who that is, I both pity you and envy you. Alan Moore is one of the most misrepresented writers of the modern age, and its entirely his own fault.
Moore is known for writing V For Vendetta, The Killing Joke, and Watchmen, all of which have a distinctly grim tone. He is one of those writers who seems to care more about the story he is telling than how much people enjoy it, and so he usually has a point to make.
Unfortunately, we end up with the Cyber Punk dilemma, in which Alan Moore’s genuinely unrivalled literary talent leads to people really enjoying his stories, which means they unintentionally miss the actual themes of those stories. In the case of Watchmen, this led to people seeing the gore and the violence and the depression and trying to replicate that.
This is where we get The Boys from, shallow sadness and spectacle. If that’s your thing, go for it, but it isn’t mine.
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But I bring up Moore in a discussion of She-Ra for a reason, and that is the relentless hope inherent in his writing. In Moore’s stories, hope prevails every single time, with the only exception being extremely subjective. The Killing Joke focuses on the idea that everyone is one bad day away from becoming evil, and that gets proven wrong. Watchmen is about how small humans are and how annihilation changes people, yet the characters are able to find joy and an escape from their trauma, and show kindness to each other even when the sky almost literally falls on their heads.
The Boys isn’t very good as an adaptation of Moore’s themes (In my opinion). If you want one that actually understands the source material, watch The Incredibles, or Justice League Unlimited, or She-Ra and the Princesses of Power.
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I have praised She-Ra for its animation and pacing, as well as its overarching story, but I think its greatest strength is its humanity. Characters in She-Ra are incredibly fragile, psychologically, and yet they are incredibly resilient.
Catra and Adora’s development gets methodically and efficiently destroyed by Shadow Weaver, and yet Adora becomes a hero and Catra… well, we’ll see how that works out in later seasons.
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One of my favourite Moore stories is a superman story from 1985 called For The Man Who Has Everything. This was adapted into an episode of Justice League Unlimited, but I prefer the comic.
The story follows Superman being forced to live out his greatest desire. It doesn’t sound that bad, but the point is that he is kept happy and therefore out of the picture while villains can do villain things. It’s very much a story from its time, and I love it.
Interestingly, however, Superman’s dream takes him back to Krypton, where he isn’t Superman, and he is happy. He has a wife, and a son, and he never lost anything. He can spend time with his parents.
Even with the shenanigans that ensue (because this is a comic), his time in this dream is fun, and relaxing. Until he works out he’s dreaming, and has to let it go. Superman gets the choice of happiness, or duty, and he takes duty.
The scene in which he says goodbye to his “son”, who does not exist and therefore does not matter, is heartbreaking, and if I ever do comic reviews, I’m talking about this one first.
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I now turn your gaze to queen Angella, from whose perspective this story is being told.
The episode actually does a bit of a bait and switch with the point of view, convincing its audience that it is about either Glimmer or Bow, and it kind of is, but not entirely.
Angella has everything she could possibly want, her daughter, her husband, her city. There is no war, there is nothing. Everything is perfect.
“This is perfect, my love, but it’s not real. I remember now. I miss you so much, but Glimmer needs my help, and I can’t stay with nothing but memories. Goodbye Micah”
Does this ring any bells?
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I want to point out that this is still Catra’s hallucination, the thing that she wants. So why does she want Angella and Glimmer to be happy?
Catra wants Adora, and arguably loves her, but in an extremely dysfunctional way that says "if I can't have her, nobody can". She is petty, and fully the villain in this episode.
So, the way that she gets Adora to be hers is by ensuring that the people who accepted her would have no space for her in their lives. Why would Glimmer want to spend time with Adora? She has her father. Why would Angella accept Adora? She has her family.
What Catra doesn’t understand is that love isn’t transactional, and that these people are genuinely kind and accepting.
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There's the idea of "what you are in the dark." The concept of what a person does when there are no consequences. Characters in this episode keep getting moments like this, when they know that they are fading from existence, and are given moments to show their true colours. Entrapta chooses to be grateful, Bow chooses to be reassuring, and Glimmer chooses to be emotional.
The thing that breaks people out of Catra’s reality is the unexpected. Its Catra’s lack of understanding of people that leads to those people being themselves and instinctively breaking free.
Case and point, Angella and Glimmer help Adora, and because this world was completely unprepared for that minour act of kindness, it can’t keep them contained.
Now, I know what scene you are expecting me to talk about, so I’m going to make you wait, and talk about Catra instead.
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Catra is the villain of this episode. If it wasn’t for this being set in her mind, she would have zero nuance. By which I mean, everything about her as a character here is done externally, the way she acts makes her seem like a generic, abusive partner.
Because let me be clear about Catra’s actions here. This is abuse, and it is treated as such by the story. The show doesn’t make apologies for her in this episode, or try to justify it here. Subtlety be damned here, Catra is abusive.
And so, I will read her this way, for this episode. We have seen the nuance leading up to this moment, and we will see a redemption arc. But this is Catra at her lowest, and so I will put aside the past and future to examine the present and the present only. Catra is abusive.
There are two ways you could read this drop in subtlety. One, there are parts of this character that you aren’t seeing, left blank. This episode is presenting you with a character and not showing you the whole thing. Or two, this is a character who has been broken by the story, almost as if parts of her have been removed or lost. Catra is now a fragment of her former self.
I wonder if any of this is reflected in her character design.
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“If you hadn’t gotten captured, your sword wouldn’t have opened the portal. If you hadn’t gotten the sword and been the world’s worst She-Ra, none of this would have happened. Admit it Adora, the world would still be standing if you had never come through that portal in the first place.”
This hurts Adora because it’s true. Ok that’s unfair, and inaccurate, but it’s not entirely wrong, and that’s the kicker.
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Catra isn’t making this up, she’s just leaving out important details. Because of course, if Adora hadn’t been captured, things would have worked out better, but who was it that captured her? Who was it that made the choice to pull the switch? Who was it that destroyed the world out of spite?
Catra blames Adora for her own actions, and that is, once again, abuse. Which is why it’s so satisfying when Adora stands up for herself.
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“I didn’t make you pull the switch. I didn’t make you do anything. I didn’t break the world. But I am gonna fix it.”
Hope is relentless.
But I also want to point out the claiming of agency here. Catra was weirdly insightful at the start of her monologue.
“It's always the same with you, Adora. ‘I have to do this. Oh, we have to do that.’”
Adora’s word choice is a flaw. I looked back at the past few seasons and did a word search through the scripts. I don’t think Adora uses the word “want” more than once at all up to this point.
Essentially, Catra sees things, but extrapolates exactly the wrong message from it. It’s almost as if she’s only seeing half of the world, like her vision is impaired or incomplete somehow.
I wonder if that is reflected in her character design.
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In any case, Adora frequently says that she “has to” do things. “Need” is also something she says a lot, and this has the effect of making her an extremely passive character in her own story.
Like I said, this is a moment of agency, but the entire story is a story about that agency. The characters are making choices to either get out of or go along with the downward spiral that the tragic form has set out for them. Catra made the choice to follow, but Adora didn’t. Adora’s word choice makes her look like she has made no choice, but a lack of action is still a decision.
So here, when Adora declares she is “gonna fix it", she takes her agency and decides to walk in a different direction.
This reminds me of an earlier episode, that being Promise.
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Hey, look at that action. Looks familiar, right?
This is the only episode I found where Adora says she wants something, although her actual wording is “I never wanted to leave you” when talking to Catra. Go figure.
The moment in question was the episode’s namesake.
“It doesn't matter what they do to us, you know? You look out for me, and I look out for you. Nothing really bad can happen as long as we have each other.” “You promise?” “I promise.”
Agency. Adora is making a decision to stay with Catra and protect her. She is knowingly choosing to do something.
It’s telling that the two most prominent times Adora has done this have been to protect people. It’s almost as if she wants to be useful, or helpful, or protective. Almost as if she wants to be wanted. It would seem Adora is just as addicted to the highs of Shadow Weaver’s programming as Catra, she just has a better support group.
Although this isn’t a full victory, she doesn’t want to save the world, she is just going to, – we still  still don’t know what Adora wants – this is a partial success. Hold onto that idea, it will come back later.
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“Do you want to know a secret? I am a coward. I've always been the queen who stays behind. Micah was the brave one. And then Glimmer, oh, Glimmer. So much like her father. And once again I stayed behind, letting her make the hard choices, letting her be brave for me. I told myself I was being responsible, but, Adora, I was just scared. And then I met you. You inspired us. You inspired me. Not because it was your destiny, but because you never let fear stop you. And now I choose to be brave.”
Queen Angella is voiced by Reshma Shetty. She doesn’t get much praise, but for this monologue, I think she deserves so much more than she got.
In my fourth post about She-Ra, I discussed Adora’s ability to inspire and linked her to Batman, something I stand by to this day.
In universe, She-Ra isn’t important because she’s a warrior. She exists as a leader, to protect people and pull them into a greater tomorrow. She shines a light for others to follow.
That is what happens in The Portal, Adora succeeds not by fighting the enemy, but by being herself. She only becomes She-Ra to destroy the portal at the end. To save Etheria, the giant sword lady isn’t important.
I mentioned earlier that humans are fragile and resilient at the same time, and I give you Angella as evidence for that claim. Here is someone who has lost her husband, and makes decisions based on that fear and trauma. But when push comes to shove, the fear is secondary.
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Reality falling apart lets directors get away with true nonsense. Micah's staff has no reason to be here, other than the fact that it makes a phenomenal metaphor for Angella's trauma. But that's all you need.
Jon Pertwee was the third doctor, and while he isn’t nearly as iconic or influential as some of his predecessors and successors, he did deliver the line that defined the whole series.
“Courage isn't just a matter of not being frightened, you know. It's being afraid and doing what you have to do anyway.”
I started my discussion of this season by claiming that this is the season in which the characters put a dent the tragic cycle, and I have mentioned several times that the cycle of abuse is unstable. So, here is my thesis.
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Catra’s arc fails, not in a story sense, but in a personal one. The idea that every character has a single story arc is something is a specific bugbear of mine, and Catra is kind of my case and point for that. She has a redemption arc up to this point, and she ends up as a villain. Then the story continues and she has to start again and decide where to go next. She has no choice but to move in a different direction from here.
But she tasted redemption already. The crimson wastes gave her a taste of what she is missing, and it offered her an out. It gave her a choice, she made one, and consequences were served. I can’t help but imagine that for the entirety of the next season, she is considering running off to the wastes again.
That idea of consequences comes back with Adora, who makes a good decision, and is rewarded for it. Or rather, she makes a decision to actually do something. Adora becomes an active character, and that is what starts to break the cycle. Because now the motion is halted, and the puppets are pulling the strings.
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But, this isn’t a complete victory. Angella is lost, Entrapta and Micah are still gone, none of the villains actually get defeated. For an episode with lasting consequences, not much actually happened.
This episode is big on the fact that this is all a dream, which should destroy the engagement. But it doesn’t. In reality, it preserves the status quo physically, but lets all the characters spontaneously experience character development. The victory of this season is that growth, but it came at a cost.
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But I want to briefly talk about that final shot, before I go, because this is how you introduce a villain. Sure, the voice acting is impeccable, and the cinematography gives an air of mystery and menace to this threat, but the showstopper is the reveal that this villain can destroy a moon with ease.
You see a fleet of ships, there was no battle here, just a villain showing off for nobody but himself. He gets interrupted by the plot, and he’s busy DESTROYING A MOON.
Horde Prime is f***ing terrifying.
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This scene is in this episode too. It's meant to show how reality is falling apart, but I actually have a reading of why it's here. I think Catra wanted to preserve who Adora was, hence why she is the source of all the paradoxes. But Catra doesn't understand that Mara's legacy and Razz's teaching are a big part of Adora.
Final Thoughts
I’m going to talk about the implications for later seasons for a moment here, so if you’re avoiding spoilers, now you know.
I think Catra being the villain here makes her redemption so much more compelling, because she actually needs it. There is a difference between this and, for example, Hunter from The Owl House, who doesn’t really need redemption because he hasn’t done anything wrong.
Catra here has very much done wrong and is evil as defined by the show. But the show’s message is that anyone can change, and that the cycle of abuse isn’t set in stone.
So, Catra will redeem herself, and she will struggle, and fall back, and try again. Forgive her or not, the redemption is the effort to be better.
Next week (or whenever the next post is released, I have a terrible work schedule), I will be discussing The Coronation, so stick around if that interests you.
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