As a lifelong fan of comic books I have always felt like I was born at the wrong time. Older fans in the hobby can talk about seeing the medium itself being born anew as superheroes started taking over from pulp action heroes. They can speak to the beloved icons like Superman, Batman, Spider-man, and The Incredible Hulk being created and refined over time. They can talk about the unabridged heroics of certain characters with fondness and the nuanced takes of being a hero that more relatable if flawed characters portrayed. Beyond all of that, it felt like I was talking to people who got to witness the start of something brilliant, when my own experience was the opposite.
I was born just as deconstruction fully sank into the medium. I became aware of these amazing heroes and their tales just as every author who thought they had some point to say about the pointless cruelty of the world sought to bastardize and tear down these icons of heroism. I road through that wave but even when authors tried to write heroes again, it was almost as though they forgot what made things heroic, what made people feel wonder at seeing Strength, Beauty, Wisdom, and Courage. Everything felt undercut by some needless cruelty, some needless statement that there is no perfect Good. In the pursuit of making everything relatable, it felt like authors forgot that some heroes needed to be unrelatable, unobtainable paragons to show us what we're even trying to be. I was born to a comics industry that felt like it had lost it's way and was dying before I even got to enjoy it.
Ascendant is one of the few comics that have shown me that the medium of the Superhero Comic book is still alive. That there are still brilliant authors and artists working to produce the kinds of stories that produce awe and wonder. If mainstream comics learned the wrong lessons from the deconstruction era, Alexander Macris clearly learned the right ones, and not only modernized takes on classic heroic archetypes, he crafted them in ways to not only incorporate the justified criticisms of the deconstruction movement, but to make sure that at the end there was a proper reconstruction of the things we loved about that era. This book gives me hope, that in thirty years I'll be able to speak as fondly about watching the birth of this era of the comics book industry, as older fans used to speak about it's mainstream contemporaries.
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