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Superassassin is an incredible story where a teenaged boy plans to execute spiteful vengeance against his oppressors while preoccupied with his comic book-stirred imagination. Tenorio stumbles upon his depiction of comics fandom, which played an interesting role in influencing his fictional vision. Considered the most dreadful criminal deed comprehensible by most people, the act of murder involves shocking mental and physical consequences of both the victim and the assassin. The prevalent outcome of murder unquestionably affects the victim’s immediate neighbor, the family and the local community. On a broader scale, assassination has the propensity to influence the global welfare and disrupt the worldwide social steadiness.

The story came out in The Atlantic as an uncommon piece of writing that gets a child narrator right, and it presents all attributes of Tenorio’s piece of work. He uses amazing imagery, instants of sadness mixed with indications of touching intimacy and a diligent obligation to character (Tenorio). According to Tenorio, there is much weight in this collection on the power of imagination. Nevertheless, the narrator of the story is a young boy whose imaginations have begun to conceive realism and the narrator’s teen sister follows her visions concerning America and love to an unfortunate ending.

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Sadness features in the narrative of the visionary boy in the story. He states that on sad nights his mother listens to her 45 rpm until she passes out. In an attempt to create a situation, the narrator leaves the mother inside the house and closes the door as he leaves for his place. On realizing his mission to quit, his mother shows much concern for his whereabouts and gets no useful response. In addition, the mother expresses her worries and sadness about the likelihood of something evil befalling her son. While considering the son’s reluctance and unwillingness to reveal his motives, the mother goes mad and begins to breathe deeply, staggering (Tenorio). After all possible ways of stopping him failed, she panics and begins to unload the kitchen cupboards, throwing food necessarily over the fire escape, crying, uttering blasphemies regarding men’s personalities.

Moreover, the author explores imagery through depiction of the narrator’s mother’s messed-up universe. He claims that the mother started with one bad star a nine-month carriage to the father’s age and level. The father brought her to the States; a living souvenir of his military times as their unification spawned him and all his biological individuality. The narrator tells his family story to his friend Aquaman but gets a positive feedback and an encouraging testimony that Aquaman’s mother was a mermaid, his father a human being. Aquaman adds that nothing is human within the man who was his father. The father disappeared from Aquaman’s mother’s life just hours before his birth when he dreamt that the father was a sinister breed of assassin (Tenorio).

In addition, the author explores dystopia comics in the text, drawing illustration from the use of the only all-used comic book in Daly City. Most stores file their back issues away in neat alphabetized rows, each one sealed in a plastic bag with rigid backing although dystopia lives up to its name. According to the narrator, comics are stuffed into shoddy cardboard boxes, and Luc and the narrator spend hours searching through bin after bin (Tenorio). However, they always won in the end, and Luc had found articles discussing matters of Justice League and Sandman and a water-smashed resource of The Watchmen. Hence, he began a little stack of old materials of Green Lantern. As a result, this accelerated his success prospects for he needed them for his research. The narrator often thinks that Luc and the narrator possess an additional sense, an instinct for discovering small treasures among the marginally torn and the rejected. His dystopia comics and the real feel of having many fans prove his success in performance and winning the extravaganzas (Tenorio).

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The author detects indications of touching intimacy in the story as the narrator declares he can only speak for himself. In his childhood, the narrator had a pretty good imagination but which, in recollection, was objectively systematized to the customs of the world he well perceived. For instance, for years he had an imaginary world on the side, one in which he was a child celebrity who had his individual drama. In addition, he was a regular guest on talk shows, and even had a few appearances on the dynasty. Presently, the narrator can barely imagine anything beyond tomorrow but will say that there is less to care about the real world than writing. Visibly, if he is writing a story based on facts or historical occurrences, he strives for accuracy, anticipating that accuracy offers characteristic drama.

In conclusion, superheroes contaminate the mind of more than just comical book artists. It is a cultural pride that can be obtained from all kinds of creative expressions like rock videos to fictional short stories in The Atlantic. The story, Superassassin concerns a comic-book fanatical kid who begins to injure people in the hunt of justice. The superhero subject frequently fuels big-money Hollywood summer shows giving a lot of returns. The story explores amazing imagery, instants of sadness mixed with indications of touching intimacy, and a diligent obligation to character. The essay has presented the review of the story, Superassassin, and given an interpretation of the story with supporting evidence from the story’s source.