One of the reasons behind The boys'Cult classic status is its ability to flout traditional superhero tropes. In an era where superhero entertainment has become the norm, audiences are craving something different – or, at least, an alternative take on traditional escapist worlds. Happily, The boys comics by Garth Ennis, Darick Robertson, and Russ Braun offer just the right amount of subversion to satisfy that desire.
A lot of The boysThe cheeky take on superheroes revolves around the traditional notion of a “supe” as someone who fights valiantly wherever he appears. The central “tweak” of this idea in the story revolves around the corruption that plagues these heroes on their path to justice.
However, an even more intriguing layer lies behind this main narrative: a subversive exploration of the role of the supervillain in the traditional narrative of the superhero genre. This secondary focus is as deliciously twisted as the “hero gone evil” plot, offering a new and captivating – if underutilized and forgotten – perspective to an already raunchy plot.
In The boysWhat's wrong is right and what's right is wrong
Nothing is as it seems in the boys' hero-villain divide
Embedded in traditional superhero history is the idea that superheroes exist to combat supervillains: those dastardly evildoers with the power and resources to easily overpower ordinary authorities. This premise rests the assumption that supervillains, at their core, are fundamentally criminaldriven by a willingness to break the law for personal gain. “Super” in this context means that his evil intentions and his ability to fulfill his malicious desires are at levels not normally experienced in society.
According to The boysWith the subversive “flip the script” approach to its genre, traditional supervillains are noticeably absent from the narrative. Instead, the main focus of the story is superheroes, but with a difference. The “supervillains” in The boys They are actually superheroes – not the evil ones, but the well-intentioned crusaders dedicated to saving the world, similar to Superman or Spider-Man. However, their quest for justice has led them into conflict with Vought, the corporation responsible for their existence, due to some perceived wrongdoing. As a result, this nuanced portrayal blurs the lines between heroism and villainy.
Of course, when employees disregard official policies and “go rogue,” there are consequences. Typically, these consequences may involve disciplinary actions such as fines, suspensions, reassignment or, ultimately, dismissal. However, the problem with Vought employees is that they have superpowers. Enter the Seven: Vought's elite team of super-powered employees who, for better or worse, are entirely dedicated to the mantra “Keep Vought Great Forever” and willing to do whatever is necessary to fulfill their mission.
The boys Taking on corporate superheroes still has great potential
There's Real-Life Meaning to This Superhero Story
For one thing, thanks to Vought's influence, any recalcitrant super-employee is quickly labeled a “supervillain” in the media, a designation that any true supervillain would quickly recognize as “fake news.” On the other hand, the superheroes recruited to punish these wayward employees – the Seven – are celebrated as true superheroes, despite their job being “company security.” However, the Seven are not far removed from their “evil” counterparts; they simply invest more in the Vought system. Most importantly, despite their superhero moniker, the Seven couldn't care less about truth, justice, and the public interest.
Just like real-world companies that manufacture narratives to protect their bottom line, Vought “creates” superheroes to maintain its dominance.
A superhero story in which do-gooders are considered criminals for insubordination and failing to follow corporate agendas offers an immensely intriguing twist on the concept of supervillains. Equally compelling is the notion that superheroes are little more than corporate enforcers, tasked with controlling “rogue” colleagues. For superhero fans, little could be more fascinating than a narrative where the “superhero” is the construction of a corporation willing to sacrifice anything and anyone for profit. Just like real-world companies that manufacture narratives to protect their bottom line, Vought “creates” superheroes to maintain its market dominance.
Despite its radical and original idea, The boys Reverts to familiar tropes
When superheroes are hunted as villains, what's a superhero to do?
Unfortunately, somewhere along the way to exploring an innovative concept in the world of superheroes, The boys inexplicably reverts to the well-known narrative of unbridled power that corrupted even the “noble” hero. Although the story initially suggests a more subtle exploration of supervillains as potentially rebellious figures, it eventually changes its focus.
As the narrative progresses, it becomes increasingly centered on the Seven, their deviant, corrupt and “unheroic” behavior and efforts to hold them accountable. Consequently, the show largely abandons its initial exploration of the complexities of supervillainy to focus on the familiar trope of superheroes abusing their power.
This narrative turn does not diminish The boys'greatness. Instead, it represents a missed opportunity to deliver an even more impactful critique of the superhero genre. Given Ennis and Robertson's initial efforts to redefine supervillains as nonconformists, the shift to a more traditional approach feels particularly disappointing. By reverting to familiar tropes, The boys falls short of its full potential for biting social commentary.
The boys is now available on Dynamite.