One can say a lot of things about Mark Millar, and CA’s own Chris Sims has covered a lot of it: He’s sensationalistic, juvenile, puerile, not as clever as he thinks he is, etc. Even die-hard fans would have a hard time arguing against these or any other labels applied to the Scottish superstar. It’s who he is; it’s part of his charm. But I can honestly say that despite everything negative that can be said about the writer, almost all of which I’d agree with, I can still call myself a Millar fan. Eat it, Sims. Other people would like to write about Batman, you know.
Despite senior writers and their distaste for him, you have to admit: Millar knows comics. He knows how to write to artists’ strengths, he knows how to promote himself, and he knows what sells. But beyond that: he knows comics. He understands the history of the medium, sees trends, and has some insight into the psychology of the reader and symbolism of the form. The little “-” in Kick-Ass, for example, queues up a syllabus of context and association that informs the reader’s experience whether s/he knows it.
It’s interesting, then, that Millar and Leinil Yu’s recently released “Superior” features a disabled superhero. It’s a story that’s been explored in comics in many different ways. As “Superior” hits the shelves, there’s word that none other than Stan Lee is planning to take on the idiom as well. And in the feel good story of the new millennium, a group of American and Syrian children collaborated in creating the Silver Scorpion, a handicapped Muslim superhero who has the power to manipulate metal and defrost your jaded little heart.
Read More: Superhero, Heal Thyself: The Popularity of Disabled Heroes in Comics