The Highlight Reel: The Over-People

As fun as it is to read about relatable "regular guy" superheroes, sometimes the familiarity that comes with that approach can make you lose sight of just how unique and wondrous these characters can be. However, every now and then, a story comes along that looks at these same characters from another angle, trading their familiarity for a sense of mystery and awe.

The first time I remember coming across this interesting perspective-switch was in Swamp Thing #24 (1984), which opened with a very different, vaguely ominous interpretation of the Justice League and its orbiting headquarters (click on the panels for a larger view):

See what I mean? Characters as well-known as Superman, Hawkman, or the Flash suddenly seem remote and even a bit spooky...courtesy of a rookie writer named Alan Moore and the evocative artwork of Steve Bissette and John Totleben.

A few years later, writer Frank Miller and artist David Mazzucchelli tried a similar approach in Daredevil #233 (1986), the final chapter of their classic "Born Again" story arc.

Determined to destroy Daredevil, a crime lord named The Kingpin sent in Nuke, a deranged super-patriot powered by red, white, and blue narcotics. As narrated by Daily Bugle reporter Ben Urich, Daredevil's hellacious battle with Nuke eventually attracted the attention of the Avengers (click for a larger view)...

Note Captain America's crestfallen expression in the final panel, which becomes a moving sub-current for the remainder of the story. As America's first Super-Soldier, Cap was appalled and ashamed by the violent lunatic with a U.S. flag tattooed on his face (a worthy addition to the Highlight Reel in its own right).

In later years, the "Over-People" angle I've touched upon would be used to great effect in Kurt Busiek's Marvels and Astro City, both of which have portrayed superheroes as aloof and mysteriously remote figures.

Comments

[Rich]

I adore that page from 'Born Again.' I remember reading the story and being surprised the Avengers showed up. Not sure why Tony had to be such a jerk to Matt though.

[Mark EngblomM]

Yeah, since Daredevil seemed to be walled off from the rest of the Marvel U much of the time, it was a surprise to see the Avengers show up. I don't mind Iron-Man's behavior here. Daredevil (at least during this time period) was somewhat of a lone wolf with all kinds of crazy associated with him, so it makes sense that Iron-Man would be a little wary of him...especially following so much death and destruction in Hell's Kitchen. As you'd see with "real world" security forces, you really can't be too cautious bringing something big and crazy under control.

[John Nowak]

I'm really not sure what Iron Man was supposed to do here to stay on the side of the angels -- let Daredevil beat a confession out of Nuke?

It's a nice bit of writing, actually; two decent people with their own agendas butting heads. I've got sympathy for both of them.

[Brian]

I remember a moment a page or two after this spectacular DD page Mark posted, when Daredevil asks Cap why he's so interested in Nuke. "Because he wears the flag," Cap responds, to which Daredevil says, "I didn't notice."

Well, of course he didn't -- he's blind. But Cap takes it as a sign of the younger generation not understanding the significance of symbols-- not angry so much as sad. It's a wonderfully rich and ironic moment, especially as it's essentially a tossed-off bit-- I think it reflects John's comment above about "two decent people with their own agendas." Neither Cap nor DD is "wrong" here, just working according to different systems of communication and understanding. I think it suggests just how on-point Miller's writing here really is-- I think the whole "Born Again" arc is the best thing he ever did.