When I was a kid I was always more into Superman than Batman, which wasn’t exactly the popular stance to take- and for the most part it still isn’t. I’ve always felt Clark Kent’s 90’s animated series is an underrated gem, especially in the face of his rival’s legendary DCAU toon, and despite some flaws (I’m looking at you Kevin “Worst John Kent Of All Time” Costner”) I thought Man Of Steel was a rip snorting good time. But even though the Man of Tomorrow has always been regarded as a quintessential American icon, due to stagnation in his usual writing he’s gotten the reputation of a character that is either too unrelatable, too corny or too powerful to write intriguing stories about.
This is where the often controversial comic writer out of Coatbridge, Scotland, Mark Millar steps in with his miniseries Superman: Red Son. It’s been one of my favorite Supes tales for a while, and is also why I’ve chosen to devote my time to it for this week. Millar is often mentioned for his work on Warren Ellis’s The Authority, a band of tough talking anti-superheroes who are willing to kill to get the job done, and who also wound up being mercilessly parodied and denounced in “What’s So Funny About Truth Justice and the American Way/Superman vs. The Elite”. However, a young Mark once imagined a certain change of fate regarding Superman’s origin, and so this Elseworlds three parter examines what would happen if young Kal-El’s rocketship crashed into the Soviet Union instead of that farm in Smallville, Kansas. According to Millar, the results are….interesting, to say nothing else.
One fateful day during the Cold War, the USSR reveals that it has its own Superman, which of course prompts President Eisenhower and genius scientist Lex Luthor (as well as husband of an oft neglected Lois Lane. I imagine the reception was very awkward between the two families) to counterattack with their own. For Superman’s part, he only wants to save lives and holds no desire to be used as Soviet propaganda, as he explains to Joseph Stalin adamantly. After dealing with America’s Bizarro, he soon discovers he has no choice in the matter, certainly not after the nation’s leader passes.
Whether it’s from the influence of Russian versions of Pete Ross and Lana Lang giving him ideas, he decides to go beyond stopping runaway trains and fighting villains and ventures into the political world, becoming the new leader of the Communist Party. Along the way he befriends a socialist Wonder Woman, and also has to contend with a renegade Batman fighting against Superman’s new dictatorship. Meanwhile, Luthor holds world domination desires of his own, and gradually rises to power in order to restore America’s superpower status and end the Man of Steel once and for all.
After reading those last two paragraphs, I wouldn’t blame you if you thought that sounded like a total disaster. Luckily, Millar maintains Superman’s desire to do good work and his genuine empathy for people, despite the fact he is obviously influenced- or rather, corrupted- by Stalinism. These ideals put him on a Knight Templar path, driving him far enough to develop his own worldwide Oceania- a personality cult with any dissenters being brainwashed and reprogrammed. Out of the ashes of a long suffering America with a collapsed economy, Luthor is his usual vindictive, egotistical self, only with even more capitalism derived power than ever before.
Both sides are presented as having unacceptable desires to control mankind, which is a pretty clever commentary on global conflict and men with the ability to end the world at any moment. Obviously, the one way for either side to come out the “victor” here is for them to step back and set humanity free. So who will come to their senses first? As that question is gradually answered, Red Son is a treat to look at as well, with artists Killian Plunkett and Dave Johnson burning the midnight oil to get as close to Russian propaganda and Constructivism art while maintaining the usual energy and dynamic feel of quality “Big Two” comic work.
If you’re going to pick up any Superman story outside of his main continuities, Red Son is by no means a bad place to start. It’s a fun alternate take on the greatest superhero of them all, and if nothing else, it’s better than At World’s End. I know that’s not saying much, as the stuff Rob Liefeld and Ken Penders (don’t ask, just look him up. You’re in for a good laugh with that jackass) draw on their dirty napkins is better than At World’s End, but still. I’m trying to say it’s good, alright?