What’s So Funny About Truth, Justice, and the American Way?: Superman vs. The Elite

In March 2001, DC Comics published what would become one of the most significant Superman stories of the modern era. Action Comics #775, titled “What’s So Funny About Truth, Justice & the American Way?”, wasn’t marketed as an anniversary issue or special event. Yet this single standalone story, written by Joe Kelly with art by Doug Mahnke and Lee Bermejo, would go on to be voted the #1 comic of the decade by Wizard Magazine and hailed as one of the greatest Superman stories ever told.

What made this issue so special? At its core, the story presents a moral and philosophical confrontation that gets to the heart of what Superman represents in an increasingly complex world. It arrived at a pivotal moment when the comics industry was actively questioning the relevance of traditional heroes in favor of more violent, morally ambiguous characters who used lethal force to solve problems. This story wasn’t just about Superman fighting another physical threat – it was about defending his entire worldview against a cultural tide that threatened to render him obsolete.

The Story: Idealism vs. Pragmatism

The narrative centers on Superman’s encounter with The Elite, a team of powerful antiheroes led by the telekinetic Manchester Black. The Elite quickly gain worldwide popularity by dealing with threats in a way Superman never would: through brutal violence and execution. With their rising approval ratings, Superman faces a world that increasingly views his moral code as outdated and ineffective.

The Elite consists of Manchester Black, a powerful British telekinetic; Coldcast, who manipulates electromagnetic energy; Menagerie, bonded with demonic creatures called “symbeasts”; and The Hat, a magician who channels powers through his fedora. They are clearly meant as stand-ins for another team that was making waves in comics at the time – The Authority, created by Warren Ellis and Bryan Hitch at Wildstorm (then under DC Comics).

The climactic battle takes place on Jupiter’s moon Io, where Superman appears to suffer a devastating defeat at the hands of The Elite. However, in a masterful reversal, Superman reveals he had been holding back the entire time. He systematically neutralizes each member of The Elite without killing them, demonstrating that having power and choosing not to abuse it requires greater strength than giving into violent impulses.

When a terrified Manchester Black breaks down, believing Superman has lobotomized him (when in fact, Superman merely gave him the equivalent of a concussion), Superman delivers the story’s thesis: “Dreams save us. Dreams lift us up and transform us. And on my soul, I swear… until my dream of a world where dignity, honor and justice becomes the reality we all share—I’ll never stop fighting.”

A Response to The Authority and Industry Trends

To fully appreciate the significance of this story, we need to understand the comics landscape of the late 1990s and early 2000s. The success of Wildstorm’s The Authority (launched in 1999) represented a significant shift in superhero storytelling. Created by Warren Ellis and Bryan Hitch, The Authority featured heroes who operated without government oversight, employed lethal force, and took a proactive approach to global threats with often devastating consequences.

The Authority gained critical acclaim and commercial success with its widescreen action and moral ambiguity. The team included clear analogues to DC and Marvel heroes: Apollo and Midnighter were obvious Superman and Batman stand-ins who happened to be in a relationship. Jenny Sparks commanded electricity and served as the group’s leader. The Engineer used nanotechnology to create anything she needed, while the Doctor possessed immense mystical powers. Jack Hawksmoor could communicate with cities, and Swift had wings and talons.

Mark Millar’s subsequent run on The Authority pushed boundaries further with explicit violence, sexual content, and political commentary that directly criticized real-world figures. The series openly questioned traditional superhero values and suggested that true heroes shouldn’t be constrained by outdated moral codes when facing the world’s evils.

The Elite were clearly modeled after The Authority – from Manchester Black’s British nationality (echoing Jenny Sparks) to the team’s overall approach to superheroing. Even Black’s Union Jack tattoo was a nod to Sparks’ signature t-shirt. This wasn’t simply homage but commentary; DC was using Superman to respond directly to storytelling trends that were challenging the foundations of traditional superhero narratives.

“What’s So Funny About Truth, Justice & the American Way?” wasn’t subtle about its position on these trends. Joe Kelly crafted a story that acknowledged the appeal of antihero narratives while ultimately defending Superman’s approach. The climax delivers a powerful argument: Superman’s restraint isn’t a weakness but rather the ultimate display of power and responsibility.

Cultural Context: Post-Authority Comics

The late 1990s had seen superhero comics becoming progressively darker and more violent, partly as an overcorrection to the perceived campiness of earlier eras. The Authority was part of a broader trend that included titles like Garth Ennis’s The Boys (which began in 2006 but followed similar thematic territory).

This shift wasn’t happening in a vacuum. The cynicism of post-Watergate, post-Vietnam America had evolved into a post-Cold War uncertainty about heroism itself. Traditional ideals seemed quaint at best and dangerously naive at worst. The comics industry reflected this cultural shift, with heroes becoming increasingly violent and morally compromised.

Kelly’s story arrived at a critical moment to pose an essential question: Is there still a place for a hero who refuses to kill? Is mercy still a virtue? Can unflinching idealism still matter in a world that increasingly rewards pragmatism?

Rather than simply reject the critique of heroes like The Authority, “What’s So Funny” engages with it directly. Superman acknowledges the appeal of The Elite’s approach but demonstrates why it ultimately fails. His victory comes not from embracing their methods but from showing that his moral code isn’t a limitation – it’s a conscious choice made by someone with the power to do far worse.

Visual Storytelling and Artistic Achievement

The artwork by Doug Mahnke, Lee Bermejo, and the team of inkers (Tom Nguyen, Dexter Vines, Jim Royal, Jose Marzan, Wade Von Grawbadger, and Wayne Faucher) powerfully amplifies the thematic elements of the story. Mahnke’s ability to portray both horrific violence and profound emotional moments allows the story to navigate its complex moral territory effectively.

The visual storytelling reaches its peak during the final confrontation, where Superman appears to adopt The Elite’s brutal methods. The art team creates genuinely shocking imagery that makes readers believe Superman might have crossed the line, only to reveal his deception in a sequence that underscores the story’s ultimate message. This bait-and-switch engages readers in the moral question at the heart of the story: what would it mean if Superman did abandon his principles?

Tim Bradstreet’s iconic cover – showing Superman on his knees amid devastation with a tattered American flag – visually encapsulates the story’s central tension. Is Superman, and by extension his ideals, defeated by modern realities? The story inside answers with a resounding no.

Superman’s Core Values

At its heart, this story is a passionate defense of Superman’s central ethos. Since his creation in 1938 by Jerry Siegel and Joe Shuster, Superman has embodied a particular brand of heroism – one that champions protection over vengeance, restraint over power, and hope over fear.

“What’s So Funny” directly addresses criticisms that these values are outdated. When Manchester Black mocks Superman’s “dying dream” of truth and justice, Superman’s response isn’t just a defense of his methods but a profound statement about why ideals matter even when – especially when – they seem unattainable.

The story recognizes that Superman’s greatest power isn’t his strength or speed or heat vision – it’s his unwavering moral compass. In a world where “realistic” often equates to “cynical,” Superman’s optimism represents a different kind of realism – the belief that people can be inspired to be better rather than merely restrained from being worse.

This story reminds us that Superman doesn’t adhere to his moral code because he lacks the imagination or will to do otherwise. He chooses mercy and restraint precisely because he understands the devastating consequences of the alternative.

Adaptation: Superman vs. The Elite

In 2012, the story was adapted into an animated film titled Superman vs. The Elite. While maintaining the core conflict and themes of the original comic, the film expanded the narrative to feature-length and developed the characters of The Elite more fully, particularly Manchester Black’s backstory and motivations.

The adaptation skillfully translated the comic’s visual impact to animation, particularly in the climactic battle sequence where Superman appears to embrace The Elite’s violent methodology. The film also maintained the story’s philosophical core while making the themes accessible to a broader audience.

One notable strength of the adaptation was its voice casting, with George Newbern returning as Superman from the Justice League animated series and Robin Atkin Downes delivering a memorable performance as Manchester Black. The film received generally positive reviews for its thoughtful approach to complex themes within the constraints of an animated superhero movie.

Legacy and Influence

The impact of “What’s So Funny About Truth, Justice & the American Way?” extends far beyond its initial publication. The story has been consistently cited as one of the definitive modern Superman tales, regularly appearing on “greatest Superman stories” lists alongside classics like “For the Man Who Has Everything” and “All-Star Superman.”

Its influence can be seen in subsequent Superman narratives that continue to explore the tension between idealism and pragmatism. Stories like “Superman: Peace on Earth” and elements of Grant Morrison’s “All-Star Superman” echo its themes about the responsibility that comes with great power.

The portrayal of Superman as a character who chooses compassion not out of naivety but from profound wisdom has informed many subsequent interpretations, including aspects of Henry Cavill’s portrayal in the DCEU films. Even when these interpretations move in different directions, they often position themselves in relation to the ideals defended in this story.

Beyond Superman specifically, “What’s So Funny” contributed to a broader conversation about superhero ethics that continues in comics like Mark Waid’s “Irredeemable” (which explores what happens when a Superman-like hero abandons his moral code) and even deconstructionist takes like “The Boys” and “Invincible,” which grapple with the consequences of power without responsibility.

Manchester Black himself would return in later stories, eventually leading to the formation of the Justice League Elite – a team that attempted to find middle ground between Superman’s approach and The Elite’s methods. This development reflected how the industry continued to wrestle with the questions raised by the original story.

Why It Still Matters

More than two decades after its publication, “What’s So Funny About Truth, Justice & the American Way?” remains relevant because the questions it poses are timeless. In an era of complex global challenges and moral ambiguity, what role do ideals play? Is power justified by results alone, or does the method matter?

Superman’s defense of his principles speaks to anyone who has ever been told that their idealism is naive or that compromise is the only “realistic” option. The story doesn’t dismiss the appeal of The Elite’s approach – it acknowledges that quick, brutal solutions can seem effective. But it also reminds us that true heroism often lies in rejecting the easy path in favor of the right one.

As our entertainment increasingly embraces morally ambiguous protagonists and antiheroes, “What’s So Funny” stands as a powerful argument that there’s still room for characters who embody uncompromising ideals. It suggests that perhaps the most countercultural stance in a cynical world is sincere hope.

In the end, what makes this story endure is that it’s not just about superheroes – it’s about the values we choose to champion in our own lives. When Manchester Black tells Superman he’s living in a dream world, Superman’s response resonates beyond the page: “Dreams save us. Dreams lift us up and transform us.” In that moment, Superman isn’t just defending his approach to crimefighting; he’s defending the essential human capacity for aspiration – the belief that we can be better tomorrow than we are today.

That’s a message that never goes out of style, no matter how dark the comics get.