Review: : Superheavy by Snyder, Capullo, and Miki

Kyle A. Hammonds, University of North Texas

Introduction distancing themselves in a Batman lineage as well. Where does the myth evolve after Writer frequently used his the modernist, lone hero of Frank Miller or work on mainline Batman books to wrestle the post-modern absurdities of Grant with whether Batman is a necessary hero as Morrison’s super-dad figure? Snyder’s well as the potential value, or lack thereof, Batman now grapples with both the benefits in generating new Batman stories. In his and detriments of modernity and post- Superheavy (2016) storyline for Batman, modernity simultaneously – a grappling Snyder collaborated with artists Greg which is usually tackled under the lens of Capullo and Jock, the artist, in order to identity considerations. Particularly, develop a narrative that focused on Snyder’s Batman faces the narrative abyss questions of how an affluent, white, male of post-modern destabilization of personal superhero might ethically operate while still identity while simultaneously working to recognizing that his privilege influences his avoid becoming a mere culmination of a view of justice. Publisher DC Comics also rigid identity marker check-list (Hammonds, credited Danny Miki as a top billed 2017). creator on the cover of their trade paperback Toward the end of exploring Batman’s collection of the Superheavy story. The identity, Snyder and team decided to take following essay will review Batman: their inquiry of the character an additional Superheavy (2016) – henceforth abbreviated step forward in Superheavy by asking, as merely Superheavy – with special “What does Batman mean as an icon to attention to the ethical concerns of the contemporary audiences?” Superheavy picks authors in creating the story. up after a storyline called Endgame (Snyder, etc al, 2015) in which the Bruce Wayne Batman, But Not Batman iteration of Batman has been supposedly killed in a showdown with the Joker. While Snyder and team’s timely interests in the tactic of “killing” Bruce Wayne felt how a character like Batman may respond to admittedly cliché and kitsch at first, the social phenomena such #blacklivesmatter, events of Endgame did eventually open up which calls Batman’s authoritarian justice possibilities for future stories to probe into question, was their solution to whether “Batman” means “Bruce Wayne” or potentially waning utility in contemporary whether other readings of “Batman” may be iterations of the Batman myth. The valuable as well. The entirety of Superheavy Superheavy authors were faced with is framed as a probing mechanism regarding

The Phoenix Papers, Vol. 3, No. 2, March 2018 76 the meaning of the Bat Symbol, as his characters Jim Gordon and Harvey communicated by Capullo and Miki’s Bullock. After Gordon mentioned to Bullock opening panels of the story. These panels that he was being considered for a position “zoom out” of a close-up of the Bat Signal as a Police-Batman, Bullock argued that Jim to reveal a multitude of symbols shining in couldn’t be Batman because “he’s police.” the night sky over the people of fictional Jim responded, “You’ve never wondered? Gotham City. Snyder’s commentary over Whether he’d have been more effective if these images emphasized the story focus on he’d worked within the law, not outside it?” the meaning and value of the Bat Symbol, The whole book contends with this line of including references to various prior questioning. versions of Batman (e.g., explicating the jingle associated with Adam West’s 1960s Seeds of Evil: The Power Monster portrayal of the character). The lines of Snyder’s script operate to clarify that the After being dubbed “Batman” and being plethora of Bat Signals in the sky referenced given a robotic exoskeleton, Gordon started the many Batmen associated with the taking to the streets and fighting bad guys symbol. (kind of). His first “super villain” was a As a continuation of this theme, monster whose body was made up entirely Superheavy began with the Gotham City of electrical energy. The monster generically Police Department (GCPD) opting to launch attacked blocks of Gotham and wreaked a program in which technically advanced abstract mayhem. Gordon’s investigation led anonymous police officers would be sent him to discover that the large energy into the field under the guise of the Bat creature was being generated and controlled Symbol. The GCPD’s choice for the first by a human with a telekinetic ability to new “Batman” was none other the long- manipulate power. The discovery that “the standing character, Commissioner Jim [power] monster is an extension of a Gordon. Gordon’s response to the proposal particular criminal” who hid while making that he may become Batman was similar to attacks served as an initial arm in an the initial, true-life responses of some fans: argument that Snyder wove throughout the Hesitation. Fortunately for Snyder and team, entirety of Superheavy. In particular, the audiences seemed to warm up to Gordon- lesson that Gordon learns in this segment is Batman by the end of their story. Placing that those who are monstrous because of the Gordon in the role of Batman strikes this ways that they wield their power are also reviewer as a fascinating narrative move dangerous because they can cloak their because it is so jarring – it begs the question vulnerable true identity and attack from afar. of whether other people can wear the mantle Gordon’s lesson may also be intended for of Batman, and why. Snyder’s readers: One way to place an The most potentially interesting meta- ethical check on possible abuses of power is commentary on the story from Snyder to be as transparent as possible in its use. comes in the form of a conversation between

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Snyder realized that Gordon’s by the mechanism put in place to protect anonymity as Batman was contrary to the [them].” His role with the police was lesson of the power monster, though. problematized by his realization that he Untangling this dilemma for Gordon takes served as “an extension of the very system more than just the Superheavy story (see: that’s failed [the people of the Narrows].” Bloom, 2016 for the follow-up narrative), The philosophical lessons for Gordon but answers were hinted at in Superheavy regarding the earth monster stem from the when Gordon finally tracked down the man make-up of the monster: The elements of behind the “power monster.” The villain had Gotham – brick, stone, tar, etc. – were taken a hostage, who questioned the motives turned upon the people in authority. The city of his captor. As the captor attempted to itself had been weaponized. Gordon learned murder Gordon-Batman, the villain said, “… that when the elements – likely a metaphor and now, down with false idols,” for the people of Gotham – held together by undoubtedly referring to Batman as an a structure turn against it, perhaps those iconic figure. The hostage interjected, “False reinforcing the structure should reevaluate idols? At least he’s trying to do something its appropriateness as a fit for the elemental good. Look at you… You’re a disgrace.” contents. Although Gordon was eventually After he was rescued, the hostage able to outsmart and defeat the man causing acknowledged Gordon as a legitimate mass destruction with the earth of Gotham, Batman, confirming the hostage’s (and the questions raised by the experience stay Snyder’s) belief that – while the question of with him and influence his later decisions in anonymously wielding power was still the story. problematic for Gordon – “Batman” is less Shortly after the conflict with the earth the identity of a particular man in a mask monster, Gordon sought out a newly than a set of heroic ideas to which one may resurgent Bruce Wayne, who had lost his aspire. memory of his life as Batman. Wayne was working as a facility manager at a recreation Seeds of Evil: The Earth Monster center in the the Narrows. Gordon’s purpose in visiting Wayne was to ask him about Following his defeat of the power developing new technology for “Batman” monster, Gordon encounters a creature made that might give him an edge over his out of earthen elements. As with the power adversaries. As is revealed through monster, the earth monster is controlled conversational meta-commentary, in from afar by the leader of local Gotham Gordon’s (and, probably Snyder’s) gang using a combination of technology and estimation, Bruce Wayne is key to the telekinesis. Gordon found the earth monster Batman myth because he represents in a Gotham neighborhood called the inventiveness and mutation. Indeed, Narrows “Gotham’s poorest neighborhood.” communication scholar Will Brooker Gordon-Batman noted that people from the (2000/2005) concluded, like Snyder, that the Narrows had “been let down over and over Batman myth survives because the character

The Phoenix Papers, Vol. 3, No. 2, March 2018 78 has a small handful of fixed identity markers surface. The Penguin/Bloom encounter with significant room for narrative continued a string of Biblical allusions permutations within the boundaries of those across Snyder’s work on Batman, this time markers. Given this understanding of the recalling the message that evil cannot drive character, Snyder used Superheavy to ask out evil (Matt. 12: 25-26). There is a sense what permutations of the character will that Christian ethics are at work for Snyder render him relevant enough to survive. The in his telling of Batman stories. clearest answer that the audience receives To a degree, the Superheavy interlude – from Snyder – at least in Superheavy – came originally featured in Batman #44 during in the form of a flashback to Bruce Wayne’s Fall 2015 – reinforces the aforementioned days as Batman. This flashback/subplot, ethic by functioning as a parable. Parables, functioning as a sort of interlude in the midst of course, are narratives that are examples to of Superheavy, offered an example of how communicate broader lessons, usually about Batman might better use his privilege and moral concerns. The parabolic function of power to collaborate with communities than the story seems to have been on the forefront he has in the past. of Snyder’s mind when writing this subplot, because he commented to The Guardian that Seeds of Renewal: Visual Dialogic “If we were going to do an issue that dealt Communication with potent problems that people face in cities that are reflected fictitiously in During his investigation of the earth Gotham, then we want to really put our monster, Gordon discovered that the new money where our mouth was and explore super villains were gaining their abilities something that's extremely resonant right from small digital implants in their bodies now” (Ackerman, 2015). In this case, the that took on the appearance of seeds. The resonant issue was the potential pitfalls of investigation led Gordon to find that there Batman’s methodology – and, the methods was a weapons dealer in Gotham who traded of other authorities in large social systems – in these seeds, which endowed their users in the “war on crime.” with super powers, for favors. No Batman #44 starts with Batman and identifying information was available for the Gordon discussing the death of a black teen seed-dealer aside from the moniker “Mr. named Peter Duggio. Duggio had been shot Bloom.” and his body had been somehow mutated, In an attempt to protect his criminal but Batman determined that his death had enterprise, the crime boss known as the ultimately been caused by a great fall. Penguin met with Mr. Bloom – and, Batman uncovered that Duggio’s father had ultimately, shot Bloom in the head. Bloom owned a local bodega; but, with his dad immediately revived, though, and being injured during earlier story events, overpowered the Penguin and his gang. Duggio was effectively the manager of the Gotham’s newest villain was a weed who bodega. In an effort to develop “more could not be killed by hacking away at the desirable” properties for wealthier citizens,

The Phoenix Papers, Vol. 3, No. 2, March 2018 79 the bank sought to buy Duggio’s bodega Duggio had attempted to save the from him. He, quite naturally, did not want bodega without doing business with the to be driven from his home. Penguin, though. Duggio’s plight inspired In order to keep his dad’s business up him to seek out Bruce Wayne. In this section and running, Duggio considered letting local of the story, Snyder tackles the claims of gangs utilize the bodega as a headquarters. some Batman fans (and/or critics) that Bruce However, his brother had been killed while Wayne and his economic advantages may be acting on his responsibilities as a member of of more help to Gotham City than his work a gang called the Four Fives. In order to as Batman. There may be some truth in such avoid business with the Four Fives, Duggio criticism; however, Synder’s parable points offered partnership to the Penguin’s gang. out some flaws with oversimplifying the The Penguin, trying to make peace and end ways in which Bruce Wayne might act in the an ongoing rivalry with the Four Fives, city’s economy. For instance, Wayne made the deal with Duggio and then turned himself was the proprietor of the around and gave the bodega to the Four development project driving people like Fives as an olive branch. Duggio and his neighbors out of their As Batman was uncovering various parts homes. The young man tried to contact of this story, he encountered a group of Wayne with a plea to stop the development black teens late at night in the Narrows. His project, but to no avail. When Duggio could response was to assume that they were likely not reach Bruce Wayne, felt the bank gang members, up to no good on the streets. closing in on him, and realized that the He scared them away from the Narrows. Penguin had given his bodega to the Four Batman’s inquiry led him to discover Fives, his final effort to take back control in that Duggio, understandably scared, hurt, his life was to seek out superpowers in order and angry at the sudden arrival of the Four to be like his hero, Batman. Fives in his home, had attempted to fight off Duggio’s search for power led him to members of the gang. In the conflict, a fire “the man waiting at the end of the alley” – was started which destroyed the bodega. Mr. Bloom – who sold him a seed of power. Police arrived when they received reports of After being shot by Howler, Duggio used gang violence in the area. The first officer the seed and concentrated on being like his on the scene – a white man named Ned hero. He grew wings like a bat and flew Howler – saw Duggio fleeing the chaos and away from Howler. Duggio’s injured body shot him. During the shootout, artist Jock could not sustain the powers of the seed, obviously drew on imagery associated with though, and he fell from the sky to his death. the shooting and murder of Trayvon Martin, As Greg Capullo was on sabbatical from which occurred toward the beginning of Batman to pursue other projects, Snyder Snyder’s work on Batman. The influence of teamed with Jock to draw Batman #44. the event is evident in Snyder’s writing and, Jock’s art was effective as a jarring change in this case, with his collaboration with from Capullo’s typically sleek character Jock. designs. In contrast, Jock used highly iconic

The Phoenix Papers, Vol. 3, No. 2, March 2018 80 drawings to increase reader identification find that collaboration is the only sustainable while also designing jagged environments to way to equitably affect quality of life and insinuate danger and tension (McCloud, feelings of safety in Gotham. In order for 1994). Jock’s art was important for this Batman to be an effective hero for particular issue because it implied the contemporary readers, Snyder argued that seriousness of the story’s stakes while at the his tactics for protecting the city had to same time inviting audience participation change. and reflection. In regard to Batman #44, Snyder The culmination of Batman #44 came commented that the story was “meant to be a when Batman, having concluded his thesis about what our [Snyder, Capullo, and investigation of Duggio’s death, came across Team’s] Batman is” (Ackerman, 2015). a group of black teens in the Narrows – Snyder continued: presumably the same group that he had frightened away earlier in the story. Instead “We’ve tried to be pretty relentlessly of provoking the teens with fists and fright, on-point about him [Batman] being a Batman tells the teens, “Talk to me.” In this symbol of inspiration in the face of way, Snyder communicated his suggestion tremendous fear, as opposed to a for white people with power and privilege symbol of punishment, or a symbol when they encounter difference: Listen to of revenge, taking the city away others. Synder’s conclusion for Batman was from criminals. Here is where he that listening to the people of Gotham – begins to learn [the limits of] the especially people who looked different than methods that he thought would work: him – was more valuable than imposing his Finding a criminal, making an economic will on others without dialogue or example of the criminal, throwing fighting people without attempting to the criminal in jail … Instead, what empathize with them. he has to learn is that the problems that he’s facing in today’s city are Blooming much more humbling, are much more complicated.” (Ackerman, The trade paperback collection of 2015) Superheavy ends with Gordon-Batman continuing to combat Bloom’s super- The value of Superheavy is in this soldiers with increased realization that reconceptualization of Batman as a partner collaboration with the people of Gotham is with the community of Gotham City rather more important than lording over them with than avenger of ambiguous evils. This anonymity and force. Partnership is the key renewed Batman is the clear culmination of theme that has bloomed from the gutters the story seeds that had been planted all between Synder and team’s storied panels. throughout Snyder’s work, making At the end of the storyline – completed in Superheavy (and its continuation in Bloom) Bloom (2016) – the protagonists ultimately

The Phoenix Papers, Vol. 3, No. 2, March 2018 81 a fitting capstone for Snyder and Capullo’s brutality-in-latest-comic- tenure on the Batman main line. book?CMP=twt_gu. Superheavy’s packaging is perhaps one Brooker, W. (2000/2005). Batman of its biggest drawbacks. The authors’ story unmasked: Analysing a cultural icon. very obviously ran from Batman #41 London: Continuum. through #52 (as opposed to issue the issue Hammonds, K. A. (2017). That’s not funny: #45 endpoint in the book version). In other Pages on how the demon clown of words, the editing of the trade paperback Gotham City learned (not) to love and reflects narrative splintering for marketing what that has to do with anything, like purposes more than in service to the maybe the American zeitgeist. The audience and their understanding of the Phoenix Papers, 3 (1), 385 – 404. story. The Superheavy collection leaves Retrieved from http://fansconf.a- readers to seek future volumes in order to kon.com/dRuZ33A/wp- discover how Snyder’s Mr. Bloom fits with content/uploads/2017/08/30-Thats-Not- his overall social allegory, including Funny.pdf. commentary on the sources of evil. With this McCloud, S. (1994). The vocabulary of qualm aside, readers will almost certainly comics. In S. McCloud (Ed.), find that – regardless of their evaluation of Understanding comics: The invisible art Snyder’s arguments – the Superheavy (24-59). New York: Harper Perennial, storyline represents an attempt to grapple 1994. with key questions about Batman’s identity Snyder, Capullo, Miki, & Plascencia (2015). and presents a context in which to theorize Batman #35-40. In R. Wildman’s (Ed.) responses to legitimate, longstanding Batman vol. 7: Endgame. New York: criticisms of the character. Superheavy is a DC Comics. productive exercise in graphic storytelling, Snyder, S., Capullo, G. & Miki, D. (2016). encouraging critical engagement from Batman #41-45. In R. Wildman’s (Ed.) readers – readers who are sure to benefit Batman vol. 8: Superheavy. New York: from their exposure to the story content DC Comics. regardless of their familiarity with the Caped Snyder, S., Capullo, G., Miki, D., Paquette, Crusader. Y., & Plascencia, F. (2016). Batman #46-50. In R. Wildman’s (Ed.) Batman References vol. 9: Bloom. New York: DC Comics.

Ackerman, S. (2015, September 15). Batman confronts police racism in latest comic book. The Guardian Retrieved from: https://www.theguardian.com/books/201 5/sep/15/batman-confronts-police-

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