It’s no secret thatThe Boysis a story about superheroes, but these heroes constantly defy traditional expectations. Unlike the iconic champions of truth, justice, and a better world, the heroes inThe Boys' universe are driven by darker motivations. This subversion of the classic superhero archetype was, in fact, the primary inspiration behind creators Garth Ennis and Darick Robertson’s vision for the series.
What’s less widely known is that Ennis and Robertson were not interested in creating just another “heroes gone bad” story. By the timeThe Boysdebuted in 2006, the superhero genre had already seen several iconic – and compelling – superhero deconstructions, such as Alan Moore and Dave Gibbons’Watchmenand Frank Miller’sThe Dark Knight Returns.
Instead of merely satirizing individual characters, Ennis and Robertson aimed to dismantle the entire superhero genre—lock, stock, and flowing cape.
From The Start - The Boys Were Meant To Reflect What Real Life Would Be Like If Superheroes Existed
As revealed in a conversation with the comic websiteRetrofuturista, Robertson explains his and Ennis’s reasons for creatingThe Boys, the influences that shaped their character and plotline considerations, and their goals for the story. Robertson’s insights into the origins ofThe Boysare quite eye-opening, revealing how the story evolved while uncovering several elements as to why it has become a must-read comic, especially for fans of the television series.
As Robertson explains, whileThe Boyswas always intended to be a cheeky satire of superheroes,the focus of its irreverence was much broader than fans and the public have perceived it to be. While most fans assume the creators were satirizing specific characters likeSuperman or Captain America, and particular superhero teams likethe Avengers or the Justice League, Robertson clarifies that the true target of their critique was not individual heroes, but rather the archetypes that have underpinned the superhero genre since its inception.
In creating Homelander, Robertson and Ennis weren’t specifically aiming to poke fun at Superman or Captain America but rather at the archetype of the “white patriotic-themed leader.“Similarly, A-Train isn’t a direct satire of The Flash; Instead, the hero critiques the DC speedster “blueprint” that has been repeatedly used in superhero fiction since at least the 1930s. Like all superhero archetypes, creators can add their own unique characteristics to the base model. The subversive genius ofThe Boyslies in the “add-ons” they include: the deviant and corrupt personalities of the heroes.
And I hewed towards those propagandistic icons to bring out the sinister element at the root of the Seven in the Boys world.
Robertson explains that these deviant and corrupt personalities are not simply based on the villain archetype, a common trope in superhero narratives. Instead,they subvert the ways in which creators and publishers have utilized superheroes over the years. Beyond entertainment, superheroes have historically served as tools to promote nationalism, corporate interests, and prevailing social ideologies. For example, The Seven are constantly exploited by Vought to peddle merchandise, suppress social unrest that threatens the company’s interests, and foster national pride in American exceptionalism – all of which reinforce Vought’s corporate dominance.
In The Boys, Superpowers Change A Person’s Abilities But Doesn’t Change Their Character
But making fun of superheroes wasn’t enough for Robertson and Ennis. They also sought to incorporate social commentary – exploring how society would function if it truly had superpowered individuals. According to Robertson,Ennis immediately envisioned these beings as equally “perverted and screwed up” as the real-world counterparts of superheroes: the rich, powerful, and politically connected. Consequently, they integrated these aspects into the story, depicting the Supes as susceptible to the same flaws, corruption, and scandals that plague real-world elites. Indeed, superpowers do not inherently transform ignorant, treacherous, and racist individuals into model citizens. They merely provide them with greater means to spread their prejudices.
The only difference between the real-world elite andthe Supes inThe Boysis that it’s even more challenging to hold a “bad” Supe accountable. Indeed, as Robertson explains, mirroring the real world, there’s a fully developed industry dedicated to concealing the misdeeds of the Supes without damaging their public image, jobs, or social standing. Consequently, just as in the real world, the responsibility of bringing the “untouchables” to justice often falls on, as Robertson states, “the resistance of the everyday person,” which in the context of the comic book is embodied byThe Boys.
The Boys
The Boysfranchise is a satirical and dark superhero series based on the comic book by Garth Ennis and Darick Robertson. It explores a world where superheroes, or “Supes,” are corrupt, violent, and morally bankrupt, all controlled by the powerful corporation Vought International. The story centers around two opposing groups:The Boys, a vigilante team aiming to expose and defeat the corrupt heroes, andThe Seven, Vought’s elite team of Supes led by the ruthless Homelander.
