Reconstructing the Superhero Mythos in Jupiter’s Legacy Volume 2 5

by Drew Baumgartner

Jupiter's Legacy Vol 2 5

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

There have been some truly great deconstructions of the superhero genre. Watchmen set the bar in that particular corner of superherodom, but there have been countless imitators in the decades since. Indeed, there’d be enough to think that the very idea of deconstructing a superhero story has lost all meaning — but of course, in comics, any issue might be someone’s first, so any deconstruction might feel subversive to newcomers, even if the rest of us have seen it a million times. That was more or less my assessment of Jupiter’s Legacy when it started back in 2013; this was an attractive, well-observed series that ultimately felt decidedly familiar. But, of course, that was its starting point, not its raison d’être. The fifth and final issue of volume two clarifies that this series was about taking superhero mythology from that tired deconstructed wasteland and reconstructing its original spirit of optimism. Continue reading

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Secret Empire 4: Discussion

by Patrick Ehlers and Ryan Mogge

This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!

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Patrick: The Secret Empire epic drives on an engine powered by dramatic irony. From the second Steve’s first “Hail Hydra” was uttered, the audience knew more about the threat the Marvel Universe faced better than any of its inhabitants. It is serendipitous (in the worst possible way) that the current political climate in the United States has made readers hyper-aware of this irony, as we’re able to draw obvious parallels between the rise of Hydra and the rise of white nationalism. We don’t need to parse out the rhetorical devices Steve uses to justify his abuses of power — we see them demonstrated by our president every day. Issue 4 doubles down on the practice of illustrating dramatic irony, giving the audience far more information than any of the characters are ever afforded. The result is an unsettling exercise in moral relativism. Continue reading