When it comes to characters with preternaturally loud screams, it’s kind of odd why nobody bothered creating a character who parlays this ability into politics, since they could make a good orator this way. Who needs microphones when your sonic scream easily does the job for you in public anyways, well it turns out I have created one in an ageing politician named Walter Edevane. A rival to the much younger Colin Sallow, he has a habit of belittling him when given the opportunity to do so. Inevitably Colin does respond in kind (in a way), though he seems friendlier in public than he is. Walter Edevane is pretty much a married man, never cheats on his wife (and she never cheats on him too), never goes about clubbing and stuff. Despite being wealthier than Colin is, he’s not the sort of bloke who’d spend his money on something this exorbant, maybe same for some things in life.
He’s not the sort of man who’d spend this much money on setting up an elaborate aviary to raise birds of almost any kind (chickens, turkeys, geese, canaries, pigeons, parrots, ducks and quails) the way Colin does, preferring cheaper and more commonplace pets like mixed breed dogs for instance. He leads a simple life where he goes about caring for his mutts, whilst not being above demanding that pigeons ought to be dealt with harshly. He’s okay with driving simple cars, taking the bus or train when necessary and the like, even when he’s not exactly old money himself. He’s okay with living in a simple house with a simple garden, despite his wealth although this could be applied to Mr Sallow in a way. He often rags on Colin Sallow for many reasons, namely his hairstyle (telling him to get a haircut, he looks like a girl), tendency to be really kind of pigeons, for dressing in a certain way (wearing a striped dress shirt with a suit, forgoing the tie) and never eating turkeys and chickens.
I feel a story where you have superpowered characters around yet it’s neither fantasy (not even the urban fantasy variety) nor does it contain combats even when supernatural abilities are involved, even when such a story calls itself a superhero story yet has much more in common with actual crime fiction that the way the stories will unfold will turn out very differently. In the typical superhero setup, whenever a character gains preternatural abilities at all they often funnel these into combat, alongside putting on a showy persona and equally showy outfit. They are often repeatedly tested by a set of recurring enemies (their rogues gallery), but they are expected to win and have victory over their foes. They have to lead a double life, though they actually spend much more time fighting their enemies, than doing what they’re supposed to do at work. It’s actually the thing with Supergirl in the 1970s stories when she became a grown up woman.
She’s really Superwoman by then all but in name, who technically works as a telly host or actress but spends more time fighting enemies. Aside from the other Supergirls that came before her (including Lois Lane for a while), Supergirl in the late 1950s was introduced as a teenager and kind of aged realistically by cartoon character standards where she eventually graduates from high school and goes to university or something, then does a variety of jobs since then. It’s actually not unique to her as it’s very rampant throughout the DC and Marvel canons where you have characters who technically work as florists (Black Canary for the longest period of time), journalists (Superman, Spider-Man), business owners (Iron Man, Batman), teachers (Guy Gardner, Helena Bertinelli), musicians (Dazzler, Luna Snow), scientists (Poison Ivy, Barry Allen, Hank Pym, Harley Quinn) and so on, but spend far more time beating up their foes in whatever manner the writers see fit.
Imagine if the use of a double life was either done away or done very differently from what’s usually portrayed in DC and Marvel stories, albeit one with a stronger crime fiction or even stronger literary fiction influence, that this changes the way characters use their abilities with. Like I said before, Walter Edevane has a sonic scream and is also a good orator of a politician. Therefore he has no need for microphones, he just has to modulate his voice when the situation calls for it (to the best of his abilities). Colin Sallow has the ability to stop time but only in a limited area and it has something to do with gravity as both time and gravity are scientifically closely related, so if he stops time in a certain area somebody else feels heavier this way. He does this whenever he has to do something, both good and ill, like making an escape, making food, sharpening pencils and stuff. Especially when he has to literally take the time to do something.
It seems a lot of superhero comics, especially from DC and Marvel, seem more obsessed with their own storytelling canons instead of venturing out into something new and different, that if they do the latter they’ll get backlash for it. Even racebending earlier characters often prove to be really controversial, to the point where it seems the wiser solution is to create a new DC or Marvel instead. This is pretty much what the blokes during the early days of Image Comics ended up doing, but only one imprint got absored into DC’s canon proper. That is Wildstorm and this was Jim Lee’s baby, before going on to actually helm DC Comics himself. At this point in time the only consistently successful superhero stories Image publishes are Spawn and Invincible, both of them got animated adaptations by the way. It’s possible for a new Wildstorm or Image to emerge, but given America’s declining stature this Wildstorm would have to be outside of the United States in any way.
This is also likely why sometime in the 1980s DC began hooking in British writers, with a feeling their takes on superheroes were really refreshing, especially the better ones who cut their teeth at the magazine 2000AD. Early on a number of British superheroes were evidently derivative of their US counterparts, the Leopard From Lime Street is a feline Spider-Man, Marvelman is a blond British Billy Batson. It’s even telling that Marvel had to instigate its own British imprint, with a young Neil Tennant (of Pet Shop Boys fame) working for it for a while, to appeal to British readers. Years before it would buy Marvelman itself, which arguably speaks volumes about superheroes being rather foreign to British culture. It’s not that all British people dislike superheroes but there’s something un-British about superheroes that makes it harder to support a homegrown British superhero for long, much less one that’s not too derivative of their American counterparts.
Even the general set-up of the superhero school is really strange and confounding where you have characters who technically work a quotidian job but spend far more time beating up bad guys instead in a garish outfit and with an equally garish alias, especially once they acqure such preternatural abilities at all. Judge Dredd and his cronies like Judge Andersons are consistently police officers through and through, but crime fiction seems far better established in British culture than superheroes are if it weren’t for the formative likes of Sherlock Holmes and Miss Marple. That’s not to say an American can’t come up with a Harry Potter before JK Rowling got to it, maybe something close to it but there’s something British about Harry Potter that the closest earliest US analogues can’t come close to. Not that boarding schools aren’t a part of America and other countries at all, but when boarding schools are identified by differing houses and boarding schools are much better established in Britain, then Harry Potter as we know it can’t be American.
If you were to consider the usual US high school fiction, it would have things like a cafeteria, cheerleaders and popular kids. When it comes to something like WITCH, though a Disney property, it was very much developed in Italy first and pretty much likely reflects Italian educational norms and understandings. Cornelia could be the popular girl and equivalent to As Told By Ginger’s Courtney, but she’s very much a part of Will’s social group from the get-go. In that sense there’s something deeply American about superheroes that feels foreign or strange in another country or culture, that if Miraculous is any indication, if another country were to have a successful go with it it would turn out very differently. The US superhero angle is pretty much going to be an adult doing vigilante acts with supernatural abilities, a flashy alias and a garish outfit, albeit done with a really straight face. France’s Felina could be a French Catwoman, a Catwoman where no Batman exists. But she doesn’t appear to have recurring foes, as much as Batman does.
Miraculous is obviously based on American superheroes but it’s also got a strong magical girl influence, where they access to their superhero personas through fetishes the way Sailor Moon and her cronies do. (Not necessarily in the sense of kink, but as in charms and talismans.) US superheroes also seem foreign in Canadian culture, even when Canadians frequently work for US publishers. In the sense that Canada’s unable to sustain its own superhero magazines for as long and as often as America does, where its own takes are either really novel (Angloman using satire more often, or The Pitiful Human Lizard being about a loser) or super-derivative (Captain Canuck for instance). Canada doesn’t even have a particularly substantial superhero canon of its own, that it seems the superhero school is also not its forte either. As if superheroes don’t travel that particularly well in other countries when localised at all, if Miraculous is any indication, it would be tempered by other influences.
Since this story also takes place in Canada and it’s also heavily influenced by straight crime fiction, it’s also proving the point right in a way. I feel in the usual US superhero setup, Colin Sallow being Walter Edevane’s political enemy would become a part of his rogues gallery, also they have to have showy outfits and aliases to go with it. Maybe Colin Sallow will go by the name of Interval as he stops time in a specific area, so logically Walter Edevane would be Protest then. Both characters would have to lead double lives then, in a way their usual presentations wouldn’t do as the original’s more rooted in crime fiction. Additionally many US superheroes aren’t part of government-sponsored teams the way Canadian superheroes are (as Captain Canuck’s associated with PACT or something), but this reflect the US superhero school’s roots in vigilantism where people take law into their own hands when dealing with criminal activity themselves.
Not that vigilantism’s entirely absent in Britain and Canada, but it’s not a prominent feature the way it is in America. Not just in the former wild west, but also in urban America from time to time. There are some people who say that the current superhero school has parallels to the cowboy fiction school, in the sense that both deal with vigilantism and taking advantage of newly acquired land. It could be said that the British wave in US superhero comics is the superhero school’s equivalent to Italy’s spaghetti westerns, taking something quintessentially American and doing something different with it. If the western’s popularity largely died with the Cold War, then it’s conceivable that the superhero’s popularity with America’s own decline in another way. If you believe Christian prophets, America might be subjected to both a forthcoming civil war and new world war. This could spell the end of superheroes as we know them, since you also have these prophets saying America is Mystery Babylon (the future nation–state said to corrupt the world).
Since we shouldn’t despise prophecy (despite failing this at times), there is a chance that America will truly decline a lot in stature and influence, perhaps even witnessing its influence get undone and it already is to some extent, wherein if America were to persist in some way it would really end up as the pawn of another country before disappearing altogether. Perhaps the DC and Marvel superheroes will disappear with it altogether as well, resulting in a fundamentally changed media landscape by then where the Canadian ACG canon would closely resemble its European counterpart more this time. A world where much American influence had already been reduced by then, but where Canada would be in a really awkward position of being Russia’s sole North American territory/whatever after America’s disappearance. If the superhero originated in America, then it would die with America too. Or if it does survive in any way, it would really have to change with the times. It might survive longer in other countries but it would also develop or grow in ways it wouldn’t get to do in America, especially once the genre’s sufficiently cut off from the biggest movers of its canon.
Namely DC and Marvel that it might go from referencing these two a lot to getting influenced by many other things to varying degrees, developing in a manner that’s no longer beholden to either one or both of them. Since I said before that Colin Sallow is actually based on Liam Howlett, the keyboardist for the band The Prodigy, to the extent of even sharing other attributes with him (playing the piano and biking), along with the story being more rooted in mystery fiction that there is a way to develop the superhero story largely independent of DC and Marvel. But this involves opening up to very different influences that are rarely, if ever, utilised in the superhero canon a lot where it seems usual for subsequent superhero publications to have covers homaging other superhero publications. It is very rare for the same to homage something else like popular music, that it would be even more astonishing for it to earnestly reference bands like The Prodigy a lot as there’s another character called Fabrice Tientcheu who’s based on Maxim Reality, let alone even their other contemporaries like Ace of Base or Aqua.
(Well there’s a bit of Malin Berggren in another character called Jemima Szara, since they’re both blonde white women who are neither particularly tall nor particularly short.)
These kinds of influences (well in a way) aren’t necessarily unprecedented in superhero comics as somebody like JH Williams III has been known to allude to Sisters of Mercy (yet another favourite of mine) in his cartooning from time to time, but it’s much more common to find superhero comics alluding a lot to other superhero comics and by extension, comics in general, because it’s clear these kinds of stories have come to appeal a lot to a certain audience that may not necessarily overlap much with people who’re deep into music and vice versa for a good number of people. This isn’t always the case but it’s kind of telling that there are a good deal more comic books about Batman, Superman and Spider-Man than there are those about say Massive Attack, comics about The Prodigy do exist but they’re primarily found in music magazines. One of the Ace of Base members has read comics herself, even though they pertain more to Tintin and Donald Duck than with Superman. Aqua did a song about them called ‘Cartoon Heroes’ and Sisters of Mercy have appeared in comics before, but it’s generally pretty rare finding western comics specifically about actual musicians.
In fact it’s very rare for superhero comics to even bother alluding to actual musicians much, much less using them as inspiration for actual characters (and stories) and one of them is Dazzler, who was going to be black herself as she was based on Grace Jones. Mind you Gary Groth even found these kinds of stories inbred and that’s painfully true when it’s more common for DC and Marvel writers and their ilk elsewhere to repeatedly riff on past stories and covers a lot, where it’s telling these are meant for those familiar with superheroes a lot to begin with. It would be mind-bogglingly rare to find superhero comics from any publisher to reference or allude to the likes of X-Ray Spex, XMal Deutschland, The Klinik, The Damned, The KLF, Cappella and Front 242, if these stories do exist at all in any capacity or shape, that goes to show you the average superhero cartoonist/writer’s not really that big into music themself.
Much less a wider variety of music whereas they’d feel the reverse towards a wider variety of comics in a way (to some extent), it’s even the case with most comics readers themselves where they’re usually more familiar with different kinds of comics than they are with their musical counterparts. But then again for the longest period of time, I actually listened to more music than I do with comics. Maybe not anymore as I actually spend more time listening to sermons these days, it’s still kind of telling that superhero media is weirdly self-referential at this point. A more future-forward superhero story would have to be one open to a much wider variety of influences, however disparate and unlikely they may be, not necessarily entirely unprecedented but different enough to stand on its own now that America’s in decline, so we might see less of DC and Marvel over time from then on.