Challenge 187

What’s a Superhero To Do?

What do you think: is John Olson’s “Monsieur Dupont” a short story, a prose poem or a metaphorical essay? Or all three at once?

More importantly, what does “Monsieur Dupont” tell us about the nature of art and, in particular, writing?
Beverly Forehand’s “Fallen” depicts rioting in a temple in ancient Egypt.
1. What would we gain by being told that the conflict actually took place, if it did, and what it was about? What might we lose?
2. The story is not illustrated. Why might illustrations actually detract from the story?
3. Is the story really about ancient Egypt and its gods? What does it mean today?
Superheroes have always bored me to distraction. From my earliest days I’ve always enjoyed the adventures of Donald Duck and passed up Mickey Mouse as a wimp who never gets his three-fingered gloves dirty. I have no interest in such figures as Spiderman, Superman or Captain Marvel. Rather, I’m interested in their human side: Peter Parker, Clark Kent and Billy Batson. The same goes for Batman, although Bruce Wayne has always struck me as a little strange.

Well, okay, maybe you like superheroes. There’s no accounting for taste, and there’s no point in discussing it; but we can talk about heroes and their stories. In this issue we have two heroes who share some similarities and are yet quite different: Clyde Andrews’ L.J.P. and S. Michael Leier’s Rick Vargo.

Now, how are they alike? Each deals with the paranormal in his own way. L.J.P., a magician, manipulates reality to combat the somewhat hapless Dark Covens, and he has a circle of close friends. He vaguely resembles Lee Falk’s Mandrake the Magician, only he drives a jalopy rather than wear a tuxedo and cape. (And yet, even young, I always thought Lothar was cool, and I had this thing for Narda...)

Rick Vargo is also in contact with the paranormal, but he doesn’t manipulate it: it comes to him; and it has big teeth and it bites. In the two stories we’ve seen so far (“The Skull Hunter,” in issue 183 and “A Change in the Wind,” in this issue, Rick has friends, but they’re not close. Rick resembles the classic private eye of detective fiction.
1. Aside from Rick Vargo’s connection with the paranormal, is he a superhero?
2. In “Skull Hunter,” tough cop Sergeant Brogan is no friend of Rick’s, but he does change a little in the course of the story. How?
3. You may have noticed that L.J.P. has two apprentice magicians: Shane and James. Shane is by far the more powerful. What is the difference between Shane’s stories and “The Coven’s Curse”? Can it be accounted for in terms of the magicians’ powers?
4. What is the function of the female characters in:
  1. “Skull Hunter” and “A Change in the Wind”?
  2. “The Coven’s Curse”?
5. In “The Coven’s Curse” or “A Change in the Wind” do any of the female characters imply a “larger story” of their own? If so, what might it be? How does it affect the story in which they appear?

Responses welcome!