Interpreting Superheroes as Monsters | Monster Men

[Music] welcome to my ongoing series monster man where we talk about why we tell monster stories and what they mean last time we talked about serial killer fiction which is a pretty dark topic it's pretty heavy i actually had several friends drop out of collaborating on that video because of how grim the subject matter is and i don't blame them that's fair but today we're going to talk about a much more light-hearted topic superheroes see my contention is that superhero stories are a kind of monster story where the monster is on your side with that all said let's have a much more chill relaxed time let's look at a much more easy talk batman yeah i think he's a-okay he's kicking just the right butts but the cops ain't kicking that's for sure hope he goes after the homos next [Music] [Music] something we need to understand in talking about the history of comic books is the influence of the comics code authority from 1954 to about the year 2000 the cca a conservative censorship organization was giving their stamp of approval to comic books they considered morally appropriate well not as direct as something like say the hollywood blacklist it did guide where the bulk of advertising money was spent and so it indirectly controlled what comics got to get published for decades their conservative censorship prohibited mainstream comics from featuring excessive violence sexuality anything too politically challenging and of course any representation or acknowledgement of the existence of queer people whatsoever the comics code authority was started in a large part as response to the publication of frederick wortham's book the seduction of the innocent in which frederick is a big crying baby sorry i can't talk about this guy with a straight face he claimed wonder woman was a lesbian which uh okay he's also the originator of the lazy homophobic tropes about batman and robin being gay together because he was such a normal regular dude so secure in his masculinity and his sexuality that he couldn't see a man and a boy living together having a close relationship like i don't know father and son without blowing his no homo whistle and calling the gay police in response to his gay bashing fear-mongering comics publishers established the cca which then controlled the comics mainstream for almost half a century so as you can imagine an underground community of comics celebrating diversity queerness and communism i'm just kidding there were people making fantastic comics really challenging the status quo but the main thing that the comic book fans felt missing was violence and gore titles like judge dredd grendel hellboy were drawing a ton of attention away from big publishers abiding by the cca and ultimately when advertisers saw there was a market for those comics they started ignoring the cca's recommendation and by 2000 the stamp of approval was largely ignored with marvel fully abandoning in 2001 and dc finally abandoned in 2011 and since then comics have been as gory and violent as anyone could have ever wished for yay the history is important to understand because this censorship of extreme violence and the appetite is spawned is the context into which frank miller published the dark knight returns important note i realized that what i wrote here might sound extreme to some people so in the following section i call frank miller a fascist a bunch of times because he is one the book begins with a piece by jimmy olsen bemoaning how bad everything has become now that the real good people have gotten too old or retired or they've become too broken to carry on and how things used to be good he ends the article we used to have heroes bruce wayne has been retired as batman for a decade and in his absence gotham city has fallen apart with street gangs maintaining an absolute reign of terror and sensitive liberals who are doing nothing or in some cases like the treatment of the criminally insane psychos at arkham asylum are actually making the situation worse at the peak of the crime wave batman finally returns to crack down on crime defeating the leader of the biggest gang putting an end to the joker once and for all and co-opting the gang goons to form his own gang dedicated to maintaining law and order on the streets of gotham eventually superman is called in to stop batman's vigilante push against degeneracy engulfing gotham and batman has to fake his death so he and his gang can continue to maintain order from the shadows and when i first read this comic as a teenager i thought it was satirizing the beliefs i now realize it's sincerely promoting because this book is extremely fascist miller constructs batman as a noble crusader against societal decay and criminal degeneracy he plays to the reactionary fear of inner-city crime by portraying gotham as almost completely succumbed to gangs and muggings and murders and prostitution he shows out of touch liberal elites who have convoluted theories for how to help but really just make the problem worse where ordinary people support the good old-fashioned common sense approach of getting out on the streets and cracking heads he shows people calling batman a fascist at several points in the comic but it's only there to show how out of touch those people are and how much they don't have the courage to do what really needs to be done jim gordon shoots a teenager to death at point blank and the internal monologue we get is i think of sarah the rest is easy batman starts a street gang dedicated to law and order like come on the same kids are shown earlier in the story joining a neo-nazi gang how is this not satire because of the history i already outlined of course the dark knight returns was enormously popular when it came out and has become one of the most influential graphic novels ever written so batman's a fascist now the dark knight trilogy by christopher nolan and batman v superman by zack snyder both borrow heavily directly from the dark knight returns and in a more general sense batman has led the charge in mainstream superheroes becoming edgier darker and yes more fascist since the darkness returns both because of it and because of the larger trend in comics batman being a bit of a fascist has been a prominent recurring theme usually as an interrogation of policing vigilante justice the inherent morality of superheroes basically a lot of smarter artists doing more interesting things than frank miller based on the assumption that what he was doing was smarter and more interesting than it actually was in the first place also to some degree a lot of people just don't seem to interrogate what comics are actually saying everyone taking influential comic books talks about the dark knight returns like it's the same as watchmen or beef vendetta i think they're confusing popularity for some other quality like they talk about the death of superman the same way a comic book where superman gets punched really hard and dies was always going to sell well that doesn't mean it has anything to say watchmen and the darknet returns were actually released by the same company in the same year this is the degree to which publishers and fans alike don't really seem to discern between comics alan moore's watchman tells us if superheroes existed in the real world they'd be kind of fascist and that would suck while miller's dark knight returns tells us if batman existed in the real world he'd be a fascist which would be really cool rather than anyone in watchmen frank miller's batman is most directly comparable to v from alan moore's v for vendetta v is a terrorist but he's like a a cool terror depictions of terrorism are definitely also a kind of monster story but it's really complicated and will need its own episode so we're not gonna get into it here v is a terrorist against an authoritarian regime directly trying to topple the white supremacist cresto-fascist government but it's the deliberate obfuscation of batman's politics by frank miller that makes him so fascy miller's heroes commit acts that are clearly terrorism but for them the enemy isn't the state or the political establishment but rather the culture the government is seen as part of the problem but who batman targets directly is the young people the gangs the vibrant and often queer and racially coded counter-culture hope he goes after the homos next to examine this rhetorical trick we need to accept that frank miller isn't simply using this guy as an authorial mouthpiece he's doing something altogether more slimy first he shows us the working class black man and we the reader agree that batman is doing a good job and making up for the lacking law enforcement but then we as an audience with a presumed set of liberal values and sensibilities are told that this guy is a violent homophobe oh no maybe batman is bad after all and the people who call him a fascist are correct but then we see the prime example of the person who calls him a fascist the white liberal elite who draws on with long-winded jargon only to admit when confronted that no he'd never actually live in gotham city so our reality must lie somewhere in the middle right but that's just it in this batman comic for batman fans there isn't really much telling us that we should find our answer between these two guys one of them likes batman the other doesn't one of them is the relatable everyman the other is the despicable liberal what we functionally have here is a two-panel argument that while you might not agree with violent bigots they're the ones who are really on your side the 30th anniversary edition of darknet returns has a preface where miller talks to brian azarello his co-writer on one of the sequels and what really stands out is well how much of a reactionary turd miller is making bruce wayne into my intention in the beginning was to tell a story of batman at the age he would be at this time if he really aged from his origins he was aged he was seeing how the world had changed and how he would bring essentially a world war ii mentality to the modern world to him it wasn't just criminals he was fighting anymore it was moral decay and political corruption it's important to appreciate that a writer constructs a narrative to show us who is right and who is wrong and nothing that happens in this story really tells us batman is wrong he gets results he beats the gang leader he kills the joker he saves gotham again and again smug liberals with their sensitive psychological therapeutic approach to solving problems fall short and batman's straightforward muscle punch man approach saves the day everything is a contest of brutality strength and cruelty and batman saves gotham by being the most brutal the strongest and the cruelest something that really comes through in that preface is how much miller was projecting not only a disgust towards liberals and progressives but a disgust towards weakness he saw in himself on the topic of ageing batman up he says i was 29 years old i was dreading turning 30. to me that was entering middle age there's a really tangible envy that's typical of reactionaries of the people who got to fight in a so-called meaningful war where miller feels like he's turning 30 and turning soft he writes this batman who brings in a world war ii mentality i'm not saying all of this to try and do what frederick vertum or the cca did i'm not trying to blacklist the dark knight returns or say anyone's bad for liking it but it's important to understand all of this to understand why our current ways of telling superhero stories are the way they are and why so many of them focus on the authoritarian mindset of the vigilante besides which frank miller didn't invent fascist batman from whole cloth the potential for this kind of superhero storytelling has been there right from the start implicitly the idea of the superhero ties into the great man theory of history with powerful individuals decisions being the only important things that move the plot of history forwards in a piece for the guardian on the strange cultural position of superhero stories archie bland wrote some connect the concept of the superhero back to nietzsche's 1883 work of philosophy the spoke zarathustra with its idea of the ubermensch a superior human whose existence would justify the species the word itself was first used in 1917 to describe a public figure of great accomplishments the original superhero superman was first conceived as a bitter and angry homeless man who suddenly gifted with superpowers took out his vengeance upon society when the series became an ongoing story jerry siegel decided a hero would sell better so when i say superheroes are monsters who are on our side it's really been there since the start in his book popular culture geopolitics and identity political geographer jason ditmer explains that captain america predates the american entry into world war ii but he nevertheless punches adolf hitler in the face on the cover of captain america comics number one this was because the early comic book industry was dominated by jewish artists and writers who were far more aware of hitler's treatment of european jews than most americans were hoping to push america off the bench and into the fight joe simon and jack kirby created captain america and located him in an america that was rife with german spies and subversives captain america's origin jingoistic as it may be was driven by really good intentions but here's the rub a monster antagonist necessitates conflict the protagonists have to do something to try and stop them but a monster protagonist needs to be given things to do and that's why after world war ii ended captain america fell massively out of popularity marvel actually tried to reboot the hero twice and failed once in a horror series and then again as captain america comi smasher both series failed to sell and had to be scrapped quickly for example when dc wanted to compete with marvel who already had a black superhero luke cage they created the black bomber a white racist who would turn into a black superhero under stress don markstein a comics historian would later describe this as an insult to practically anybody with any point of view at all sorry i just love reading that quote this character would like to be scrapped by dc who then hired tony isabella a writer with experience on luke cage who created the character of black lightning the superheroes of dc comics tend to try and remain more abstract and philosophical with concepts like what if a guy was really strong or what if a rich guy solved crimes rather than marvel's arms dealing billionaire privatizes hypertechnological policing or angry frisbee patriot and as such marvel's blunders are a lot more explicit and politically involved detmer writes places can be represented in a variety of ways some subtle and some blatant captain america decidedly falls into the blatant category given his origin as a jingoistic wartime crusader against nazi germany and imperial japan this should not be too surprising in the 60s and 70s when captain america was successfully rebooted he came back as a social justice warrior but no more of a radical than before with communism unavailable for captain america to battle he instead continued his rivalry with of all people nazis such as the red skull and the prussian aristocrats baron zemo and strucker while this seems bizarre given the lack of real world threat posed by nazis in the 1960s it makes sense if you consider the ideological value of nazis as still to this day being seen as inimical to the mythological values of america as home to individual freedom and equality so embarrassed by their attempts at red baiting marvel actually ratcon captain america's history to claim that steve rogers had been trapped in an iceberg since 1945 making a distinction between the real captain america and the 1950s mccarthyite cap who was revealed to be an imposter someone who was a fan of the original captain america who had blackmailed the us government into letting him be the new cap and then spent his time chasing down communist sympathizers and people of color in the 70s there were a couple of arcs featuring this 50s cap where he comes back spouting racist nonsense and working with the kkk trying to start a race war and the good sensible centrist liberal captain america has to stop him what's interesting about the storytelling element is that the writers of captain america essentially turned their mistakes into a monster literally creating a bad captain america all the while refusing to question the character of the real cap this examination of this monster the owning up to the fact that some element within america had always been this way and furthermore the element was inspired by the character they continued to promote ironically drew attention away from america's favorite monster the monster who fights for us battling his reflection who fights for them the monster of the superhero needs to be put to use and finding a justification of that is one of the elements of superhero stories that lends itself naturally to reaction most superheroes are crime fighters so to continually justify their existence these heroes keep being tied back to policing miller's bleak violent street gang dominated gotham was building on this existing element and on the urban crime wave that was a huge focus of conservative politics in the 70s and 80s in the preface to darknet returns miller says crime was rampant and i had been mugged a few times i would be very very angry just watching clint eastwood movies back to back just getting absolutely paranoid i figured if batman was a grown-up he'd take care of things this is another place where the monster who fights for us is making superhero fans uneasy as more people rightly start to question the police more people are uncomfortable with superheroes being magical cops so the natural question now is what alternatives there are to the super cop one possibility considering the superhero monster has always been a defender of the status quo is to keep superheroes as the protagonist but instead make them represent the marginalized and the oppressed instead of the powerful well it's also something that stan lee the absolute mad lad thought of decades ago lee always tried to write superheroes who had everyday relatable problems saying i have always included minority characters in my stories often as heroes we live in a diverse society in fact a diverse world and we must learn to live in peace and with respect for each other and let's lay it right on the line bigotry and racism are among the deadliest social ills plaguing the world today but unlike a team of costumed super villains they can't be halted with a punch in the snoot or a zap from a ray gun excelsior true believers it's me smiling stan and so it's no surprise that stan lee would create a whole team of superheroes whose troubled lives come from their diversity and from what makes them different the x-men if you don't know what the x-men are what am i doing the mutants in the x-men are an in-universe marginalized group and because of that they serve as a really robust metaphor for lots of real world groups in pop culture geopolitics and identity ditma has this to say about the x-men some readers saw the story as an allegory for american race relations with professor x standing in for martin luther king and magneto standing in for the more controversial malcolm x this reading makes special sense in the comic book which was first published in 1963 detmer goes on to say however to many audiences the franchise's tales of an oppressed genetic minority has equally often seemed to be that of homosexuals especially in x2 in that film the plot remains focused on ethnic conflict but there is a scene in which mutant bobby drake comes out of the closet to his parents by demonstrating his power to them his mother's response have you tried not being a mutant is something of an in-joke with homosexual viewers as the cliched response of many parents of homosexuals the third film x-men the last stand is driven by a medical cure for mutanthood intersecting with political debates in the united states about homosexual marriage and whether or not homosexuality is a choice or a genetic trait in this regard x-men and other superhero stories like it brings superheroes into the real world in a different way altogether making them not idols or gods of myth but relatable human beings in x-men the persistent plight of mystique highlights the intersectional nature of oppression since her struggle is markedly worse than the rest of the mutants cyclops or wolverine can pass as non-mutants in public but mystique has to disguise herself to avoid inspiring fear and hatred from others in this sense mystique could be understood in the queer reading of x-men to be a trans woman or a black woman in the civil rights allegory but for that matter just also someone with significantly darker skin her story intuitively explains the way that some people in marginalized groups face more severe or complicated forms of bigotry and that's why many representations of her character show her sympathetic to the protagonist's cause but ultimately rejecting their moderate politics because she knows that only magneto and the brotherhood of mutants can bring about the change that will make her safe but you know who else has thoughts about the progressive and diverse messaging of the x-men frank miller [ __ ] this guy the act one primary antagonists of the dark knight returns are the mutant gang they're a group of colorful young people who wear these visor glasses and they're a stand-in for everything wrong with society the degeneration of gotham city the stated mission of this series is to interrogate why we tell monster stories and frank miller repeatedly relies on the image of the degenerate criminal as monster to justify the existence of the monster on our side the superhero the leader of the mutant gang is a fanged and clawed grotesque monster man who speaks in broken english and actually frank why does he speak like that the guy with a sharp teeth mr t was a real popular figure at the time and i patent his speech as close to mr t's as i could oh pog maybe as a special lover of monsters and as someone trying to find the human beings at the root of all these monster stories i have a bit of a bias but this is why i have a particular disdain for the cheap fascist crap that frank miller peddles maybe that's just me oh wait no even his fans are sick of his [ __ ] now holy terror is a comic written by frank miller and derek's response to 911 where not batman and not catwoman team up to fight al-qaeda i've followed miller for many years the art and one-liners are good as always miller as always goes to extremes to prove a point sadly i'm not sure what the point is he's trying to make okay i figured all the negative reviews were to the book offending the political correct bunch as if they would order this book anyway it's rubbish everything about it the fact it's rubbish offended me hour of my life gone zilch narrative difficulty following artwork and done in an hour trust me don't bother don't even borrow a copy as for miller himself when he was working on the book he described his upcoming masterpiece as not to put too fine a point on it a piece of propaganda superman punched out hitler so did captain america that's one of the things they're there for explaining his reaction to 911 as the inspiration for the book he said for the first time in my life i know how it feels to face an existential menace they want us to die all of a sudden i realize what my parents were talking about all those years patriotism i now believe isn't some sentimental old conceit it's self-preservation i believe patriotism is central to a nation's survival while we're here why don't we just take a moment to look at this drawing of presumably obama give my regard to those 72 black-eyed virgins i'm so tired holy terror was going to star batman and miller claims that at some point he realized this was no longer a batman story but the protagonist is very clearly batman his love interest is very clearly catwoman there's jim gordon the city is obviously gotham it feels like dc pumped the brakes here in 2006 when the book was still about batman grant morrison fellow batman writer and also the most extra comic book writer yet born on planet earth explained why even they found it completely ridiculous batman vs al-qaeda might as well be bin laden versus king kong well how about the sinister al-qaeda mastermind up against a hungry animal lecture for all the good it's likely to do cheering on a fictional character as he beats up fictionalized terrorists seems like a decadent indulgence when real terrorists are killing real people in the real world i'd be so much more impressed if frank miller gave up all this graphic novel nonsense join the army end with a hell of undying hate rush headlong onto the front lines with the young soldiers who are actually risking life and limb versus al qaeda kind of rude of them to come right to frank miller's house and get him where he [ __ ] lives look don't read this book i had to and that's already one person too many terrorism is a complex subject that deserves to be handled with care and nuance and even a vague grasp of geopolitics and that's why i'm giving it a whole episode later in this series don't read the angry stabby racism book just go outside for an hour sit by a tree much better this episode's sponsored by trees some more recent media embraced the idea that superheroes are a little bit flashy just you know not as the good guys they even leaned into the idea that superheroes can beat scary monsters amazon's the boys is a great look at superheroes as metaphors for different ideological strains in the american ruling class okay season two is season one is kind of dragged down by its edgy source material in my opinion all i can say is if you're halfway through googling holy terror frank miller pdf right now stop and google put locker the boys season two instead uh in minecraft parody non-actionable here's my two point pitch for watching this excellent season of television one the nazis invented superheroes because of course they did two captain america superman standing on the top of a building masturbating into the wind and yelling i can do anything i want the boys season 2 is so [ __ ] good it's what frank miller wishes he could write and it's even an interesting use of super terrorism but we'll talk about that later so now we've seen superheroes as the monster protagonist promoting authoritarianism as the monster antagonist condemning it we've seen how superheroes can be the sympathetic monster driven away by society but before we wrap up i want to talk about why a lot of it rests on that idea that when the monster is there and they're on our side they have to be given something to do look at what happens to gotham when batman retires interrogating this issue is something nolan's dark knight trilogy does pretty well right from the beginning the existence of batman is marked as a temporary measure that causes its own problems isn't the solution everyone would prefer and is even harmful to the person doing it still though nolan's batman is the monster of reaction he wants to return gotham to some pre-lapserian past before all the crime i think this is a big distinction in the stories of superheroes because of the way the typical conflict is framed as good versus evil evil in the world necessitates change whether the evil is the status quo which treats our protagonists like monsters or the evil is a threat to it which we need a monstrous defender to fight back but since so many of these stories pose evil as a threat to the status quo and for a lot of people the status quo is exceptionally terrible there is a pattern of people identifying with the super villains the joker says society treats mentally ill people like garbage killmonger wants to turn the tables on historic colonial injustice magneto wants to keep his people safe and he doesn't care who he hurts to do it because society hurts his people so much already compounded even further in the movie franchise where magneto is a holocaust survivor this is why we see people push radical politics by saying things like not gay as in one of the x-men but queer as in magneto was right this too is where our problem of the superhero monster constantly needing something to fight against arises if the superhero is a defender of the status quo then his constant battle is against anyone who opposes it but what if our superhero fought against the constant evil that thrives in the real world in his video how were they allowed to make immortal hulk scaredy matt from scaredy cats asks the question well how were they allowed to make immortal hulk it's a question worth asking because immortal hulk for a marvel series about a flagship character is a shockingly radical comic i'm talking about bruce banner explaining to the media how corporations exploit and profit off disasters i'm talking about hulk gaining a following of protesters who are basically antifa i'm talking about the central conceit of the series being hulk smashes capitalism the main antagonism currently in the series is hulk taking on a huge multinational mega corporation called roxon rocks under a staple for marvel talking about capitalism there the corporation miles morales was defending from evil protesters in the new game and the ceo of roxanne is a horrifying minotaur man in this comic who treats the world around him his possessions his staff and the public alike as completely disposable oh and of course when his true form is revealed publicly it doesn't even hurt the company's stock prices incidentally the company manufacture and sell the plastic hulk masks the protesters wear which of course doesn't make the protest any less meaningful or the company any less opposed to them it's just a nice touch showing how businesses will profit off absolutely anything they can in the same way that captain america was there to push america into world war ii and in an era now when so many comic book writers still just make donald trump their symbol of everything wrong in the world immortal hulk seemingly exists to explain to young comic book readers what all those protests on the news are about why they're so mad and yeah they do a great [ __ ] job there's this whole bit where this cop is thinking about his kid who he no longer relates to thinking about how he wanted this traditional conservative american dream future for her and the more she's become some dyed hair left okami radical who he doesn't understand anymore the more he sees her as part of the problem up to the point where she's pointing his gun at her in the crowd and he's imagining what will happen next knowing he'll get away with it facing no legal consequences and he thinks about who he wanted her to be and he pulls the trigger it's a real i think of sarah moment and then the hulk steps in the way of the bullet and he in minecraft parody non-actionable this comic is shockingly radical at the absolute best superhero stories embrace the way that a superhero can be a monster and the way that a monster is a representation of an idea an abstraction of something bigger than a person and when the comic book characters fight you're seeing a clash of different ideologies while seeing the way the issues interact with one another magneto versus professor x avengers civil war batman vs superman in the middle of civil war 2 see i can't make an electric boogaloo joke here because of the boogaloo boys goddamn fascists ruin everything in the middle of civil war 2 the civil war inning there's this great scene where tony stark is trying to get miles morales over to his side and he explains the future crime prediction policing that he's opposed to as like racial profiling and when you think he's just gonna get away with manipulating this teenage boy miles says hey why did you say that you're making that comparison because of my race right and tony stark has to own up to exactly what he just did but also miles can see that it's a valid comparison that bears saying in immortal hulk there's a villain brought in by roxon whose power is to change how people remember things he retcons everything good that leftist comey hulk ever did as something he did instead and only lets people remember the bad things hulk did liberal propaganda is a big fluffy monster villain in immortal hulk they made aaron sorkin the villain of this comic book the comparison deserves to be made here between zemnew the fluffy propaganda monster and honestly what marvel have themselves done pretending mccarthyite captain america was an imposter framing magneto's separatism as dangerous radical short-sighted and wrong and what's great about immortal hulk is that both in the allegory and in the real world the solution to this problem is to parody non-actionable the way that people are continually drawn to super villains because they challenge the status quo the joker magneto killmonger is so beautifully expressed through the hulk and through the series constant refrain is he man or is he monster or is he both immortal hulk is such a fantastic bit of monstrous superhero storytelling because bruce banner's monstrous side is also just a thinking feeling reasoning person and when you get down to it what he really wants is actually pretty cool and in another sense the monster of immortal hulk is the monster that the media make him out to be in order to dismiss away his intentions and his agenda and deflect from criticisms of capital but he gains popular support nonetheless because even if he's a monster people can see he's not the kind of monster that defends the status quo he's the kind of monster that necessitates change and that's what they want i hope that more and more this is the kind of superhero story people are gonna want because if a monster is going to fight for us the monster is going to have to fight for change and it's going to have to be a monster who gets angry a monster the establishment won't like when he's angry okay we've talked about serial killers and we've talked about superheroes people who are real who do terrible things fictional characters who are usually good next time we're gonna need to get back to basics and really dig in on a proper original monster i hope you'll join me on the next monster man when we discuss vampires [Music] i'd like to thank molly noyes who makes the spectacular music for monster man as well as the rest of my channel all my pals who lent their voices to this video my patrons who make this all possible and you the viewer for watching all the way to the end if you'd like to become a patron over at patreon.comcuriovids you can see my videos early for two dollars read scripts early for three or join my patreon discord for five later this month i'll be publishing the matrix sequels are good actually but as that's a patreon goal reward video it'll be up for patrons a full month before it's out for everybody else so get over there and give me two dollars or more than two dollars and you can see that this video is a fun one i got to read a lot for it both books with pictures and without i don't know conceptually superheroes as monsters is something that's been in my head for a while so it's good to talk about it okay see you all soon for my cyberpunk video i'll see all you patrons a lot sooner for my matrix video check out my twitch and twitter at demo sophie if you want me even sooner than that okay bye for now [Music] bye [Applause] [Music] um [Applause] [Music] me [Music] you

Channel: Sophie from Mars

Views: 158,411

Keywords: The Dark Knight, Frank Miller, TDKR, The Dark Knight Returns, Christopher Nolan, Batman, Superman, Captain America, Spiderman, xmen, magneto, jason dittmer, joker, black panther, killmonger, hulk, immortal hulk, comic books, curio, monster men, miles morales, iron man, tony stark, civil war, holy terror

Id: kVDYjZhf9yc

Length: 38min 23sec (2303 seconds)

Published: Fri Mar 12 2021