The History of DC Comics: A Disjointed and Watered-Down Look

In conjunction with San Diego Comic-Con 2023, Max has released a three-part docuseries titled Superpowered: The DC Story. Unfortunately, the series falls victim to the same issue plaguing the convention itself— an overreliance on comic book adaptations rather than giving the comics the attention they deserve. Directors Leslie Iwerks and Mark Catalena start off strong with a comprehensive overview of DC’s origins, but as the series progresses, it becomes diluted and scattered in its attempt to cover DC films, shows, video games, and comics throughout the decades. The result is a disjointed and watered-down examination of the DC Comics legacy.

The Hero’s Journey: A Strong Start

The strongest episode of Superpowered is the first installment titled “The Hero’s Journey.” This episode begins in 1934 with the formation of National Allied Publications by Malcolm Wheeler-Nicholson. It explores the rocky start that the publisher faced before igniting the industry with the introductions of iconic superheroes like Superman in 1938 and Batman in 1939. The premiere episode covers various aspects, including the broadening of Superman’s audience through radio serials, the myth surrounding Batman’s creation, and the influence of Wonder Woman as a feminist heroine. It also delves into the Comics Code Authority, the Silver Age, the popular Batman TV series of the ’60s, and the acquisition of DC Comics by Warner Communications. Together, these stories provide the most cohesive narrative of the docuseries, detailing how DC built its roster of characters and navigated cultural shifts that impacted the company’s success.

Insightful Interviews and Missing Context

Rosario Dawson serves as the narrator for Superpowered, and “The Hero’s Journey” features the most interesting interviews with comic book luminaries such as Gene Luen Yang, Jim Lee, Joëlle Jones, Grant Morrison, and Mark Waid. These individuals share their perspectives on the impact of DC’s “Holy Trinity” on culture and the company’s business. The directors, Iwerks and Catalena, provide candid insights into the previous leadership and regimes of DC Comics. However, the piercing and insightful commentary diminishes significantly as the docuseries progresses.

Weak Connections and Generic Interviews

The weakest sequences throughout all three episodes of Superpowered occur when the filmmakers attempt to make nonlinear jumps in the corporate timeline to connect characters to their 21st-century adaptations in film or television. While this approach may seem reasonable to bridge the past and present, the flash-forwards predominantly consist of mind-numbingly generic promotional interviews. These interviews lack substance and compelling stories, making their inclusion feel arbitrary. It appears that these interviews were included to fulfill a desire for more contemporary talent on screen, rather than adding value to the series. Additionally, there is a noticeable absence of commentary from individuals outside of DC’s inner circle, with only occasional appearances from independent voices such as David Betancourt, the comic book reporter from the Washington Post.

A Disappointing Conclusion

In its third and final episode, titled “A Better Tomorrow,” Superpowered unravels like a sprint into the Speed Force, leaping from the ’90s to the release of Black Adam with only a cursory quote from Dwayne Johnson. The episode’s selection of topics is perplexing, as it overlooks significant comics milestones, such as Becky Cloonan becoming the first female artist to draw a Batman issue, the closure of Vertigo, and James Gunn’s Peacemaker series. Instead, the episode includes a puff-piece segment on DC video games and a random mention of Zack Snyder’s recut Justice League with no context. Notably absent are discussions on hot button issues like toxic fandom and the accounts of Joss Whedon’s abusive behavior on the Justice League set. The episode also fails to address any controversy surrounding the 2023 Flash movie starring Ezra Miller. With the exception of a nod to Milestone Comics and Phil Jimenez’s emotional story about the 9-11 Annual in 2001, the final installment feels like a compilation of existing DVD featurette material. It presents a lackluster and unsatisfying conclusion that ultimately fails to honor the comics and their adaptations fully.