By Kelly Gaines

Only a few times in a generation do we get a comic book that deserves to be counted as a literary and artistic achievement. It takes an exceptional team of talent working in perfect sync to create a story that not only engages the reader but adds a new layer of depth to the medium. We’ve seen it in books like Watchmen, Kingdom Come, and Maus- books with a creative impact that left a permanent mark on what comics are and what they’re capable of doing. After reading the director’s cut of Mister Miracle #1 and comparing it side by side to the originally released version, I am convinced that this Mister Miracle run will be counted among the best stories ever told in comic form. This is a title that not only honors Jack Kirby’s characters but treats them with a level of respect unparalleled by any other version. They deserve this kind of careful and thoughtful treatment, and I think he would be proud to see it.

The Director’s Cut has several distinct differences. The first and most obvious is the inclusion of a brief backstory of Mister Miracle. The backstory is written in a fairytale-like style recounting the war between Darkseid and New Genesis and the trade that left Scott stranded on a planet of darkness. This change is helpful for readers who may not be familiar with Mister Miracle, or readers like me who need a refresher to place the characters as they appear in the story. Helpful as it may be, I do prefer the opening that was included in the original #1. It opens immediately to Scott’s suicide attempt with eerie urgency and feels disorienting in a way that aligns the reader’s initial impression with that of the characters. While the backstory opening may change the tone of the first few pages, it does add to the black panel flashes of “Darkseid is” by building fear and apprehension. Having both the original cut and the director’s cut is only fair. Both openings have evident yet very different strengths and show the immense creative effort that went into creating this title.

The second key difference is the coloration choice. In this version, we start off with full colored panels until the backstory is over. Once we reach the current Scott, most of the page is black and white, but this is not a lazy choice or one made to encourage people to buy multiple copies of the same book for aesthetic reasons. The objects that are colored say everything: blood, pictures of fully costumed Mister Miracle, and dialogue boxes referencing Oberon are the only aspects that have color. My takeaway is that these colored parts of the page show us where the real Scott is. His blood in the bathroom is an outward representation of his inner struggle. He’s an escape artist trying to do the impossible- escape from something that is inside him. While looking at the red in the panels there’s a distinct feeling of “there is Scott” the real Scott, trying to break free from something that has become a part of him. As Scott and Barda interact, argue, and comfort each other, a poster of Mister Miracle is displayed in color on the wall behind them. Once again there is Scott, or at least a representation of the hero he really is, acting as a glowing backdrop to the dizzying reality he and Barda are facing. In later panels, we see color again as Barda and Scott talk about Scott’s deceased friend Oberon. Barda asks Scott what he’s doing alone in the studio. Scott, who moments earlier was having a vivid conversation with Oberon, replies “I wasn’t alone, Oberon was here.” Barda is horrified. She hesitantly tells Scott that Oberon is dead, and has been for some time. The color in the Oberon panels once again shows us where Scott is: seemingly functional, but mentally breaking. Barda sees this and later reflects on it as one of the earliest signs of the internal chaos that is brewing inside Scott’s head.

The final big difference between the director’s cut and the original is a gift straight from the comic gods- well, straight from Tom King at least. We get a full look at the script for Mister Miracle #1. As a writer, one who majored in English in college, I’ve had the chance to study script styles from several mediums. Plays, movies, and television shows all have unique criteria that form a traditionally “good script”. These scripts are not even in the same wheelhouse as comic scripts. There is no traditionally accepted way to write a comic book script. If you study scripts from top writers (I’m talking Neil Gaiman, Alan Moore, Grant Morrison and the like) none of their script styles are the same. It’s more of a free for all than a constructed template. Every writer finds different ways to explain what they’re seeing in their head and communicate that vision with the artist. This makes reading comic scripts an incredible treat, as they connect you directly with the creative inner workings of the writer. I could go on for pages about reading through the Mister Miracle script, but unfortunately, that is not what I’m here to review. Instead, take the inclusion of this script as a selling point for the director’s cut of Mister Miracle #1, especially if you’ve already read the original release and are still on the fence about buying another version.

Whether you’re a long-term comic fanatic or new to the fanbase, Mister Miracle is a title to read. It’s a special take on a superhero narrative with a unique and carefully crafted tone. I’m willing to bet that someday this book will be on the textbook list for a college course (probably similar to the ones I took) as an example of a literary work that can be deconstructed and analyzed in a dozen significant ways and still have more to offer. I can’t stress this enough- READ THIS TITLE. It’s a superhero story about love, sacrifice, personal tragedy, and struggling with the dark things that may lurk in your mind. While Mister Miracle is certainly not for the easily triggered, I truly believe there is something in the pages that can speak to everyone.

Score: 5/5

Mister Miracle #1 Director’s Cut
DC Comics