Tagged: Hero

NY Times: Have Superhero Movies Peaked?

  • News
  • July 27, 2008

dark_knight_joker-4797358There’s an interesting question posed by the New York Times film critic A.O. Scott in a new piece regarding superhero movies.

He surveys the Summer of the Superhero and notes the genre’s success, but then wonders if it might have hit a creative high-water mark. In other words, could the conventions of the superhero limit every superhero film, keeping it from exceeding The Dark Knight?

But to paraphrase something the Joker says to Batman, “The Dark Knight” has rules, and they are the conventions that no movie of this kind can escape. The climax must be a fight with the villain, during which the symbiosis of good guy and bad guy, implicit throughout, must be articulated. The end must point forward to a sequel, and an aura of moral consequence must be sustained even as the killings, explosions and chases multiply. The allegorical stakes in a superhero are raised — it’s not just good guys fighting bad guys, but Righteousness against Evil, Order against Chaos — precisely to authorize a more intense level of violence.

… the disappointment comes from the way the picture spells out lofty, serious themes and then … spells them out again. What kind of hero do we need? Where is the line between justice and vengeance? How much autonomy should we sacrifice in the name of security? Is the taking of innocent life ever justified? These are all fascinating, even urgent questions, but stating them, as nearly every character in “The Dark Knight” does, sooner of later, is not the same as exploring them.

As much as I liked The Dark Knight, I agree with Scott on its limitations, owing mostly to the abundance of "speechifying."

But, personally, I disagree with his main point. Watchmen, if it truly ends up following Alan Moore’s vision, would certainly represent a new creative high for the genre.

What Scott reveals in the piece isn’t the great limitation of superheroes, but rather a limitation in his understanding of what a superhero can be.

SDCC: Radical Making Movie News

  • News
  • July 25, 2008

Comics and movies meet at Comic-Con, and this year Radical appears to be the most forward gal at the dance, so to speak.

The relatively new publishing company announced recently that a film version of its Old West action series Caliber is headed to screens with John Woo attached to direct. In balmy San Diego, they’ve announced another three series getting development deals.

The company has also made deals for Hercules: The Thracian Wars and the mecha book Freedom Formula. Blog@ notes:

Radical Publishing is introducing the five-issue series this week at Comic-Con, and will release the first issue in August. …

The comic, created by Edmund Shern, is set in a future in which racing exo-suits have replaced fighter jets. The story centers on Zee, a genetically engineered racer who transforms himself into the hero of a dying city.

SLG Editor: Enough Women in Refrigerators

  • News
  • July 14, 2008

slave-labor-graphics-logo-p-2430465For all the discussion about the role of women in comics — as creators and characters — apparently more needs to be said, at least judging from the submissions that come in to publisher Slave Labor Graphics.

SLG editor Jennifer de Guzman goes off in a new journal entry, deriding the material she’s seeing cross her desk.

Indie and alt comics are still much-dominated by male creators, and in these men’s minds, women serve as plot devices that aid in a male development’s character. The women are damaged and victimized and usually odd — like that hot, fucked-up chick in Fight Club, brah! — and I’m tired of them. Just in this month, only a week old now, I have seen women who have been lured into porn, women who are hookers who teach young men lessons about life, women who were raped by stepfathers, women who are bi-polar and suicidal, women who are naive and long-suffering girlfriends of scumbags, and women who seem pretty cool and normal and then get kidnapped in order for the male protagonists to have something to do by saving her. Women who are never the protagonist.

Guys, STOP IT. The cumulative effect of these crazy/victimized/damaged women submissions — almost every other envelope I’ve opened — has got me wanting to punch someone. And you know where that will lead me: In trouble with the law, I’ll slip into the underbelly of society, start a nasty meth habit, turn to prostitution and then have to be saved by the man who has always loved me. Don’t let it happen to me. You can be a hero.

(via Journalista)

Crossing the Line, by John Ostrander

I’ve been in this comics business for umpty-bum years now. Its not that I’m ashamed of the number; I just keep forgetting it. Ah, the joys of aging! It’s more than a quarter century since I started as a full-time writer; I know that. I’ve been a comic fan even longer. I’ve watched the occasional villain become… well, if not a hero, then something like one. Magneto, over in X-Men Land, for example. He’s gone from being the arch-enemy to our merry mutants to metamorphosing into an ally, to sometimes becoming their leader, and then back. Batman periodically gets darker until it’s hard to tell him apart from his foes.

Occasionally, this happens in real life.

Today, June 5, 2008, Ian Paisley steps down as First Minister of Northern Ireland.

Brief background, in case you don’t know: Northern Ireland is not a part of the Republic Of Ireland. It’s a constituent county of the United Kingdom and comprises the six counties that chose to remain a part of the U.K. when the Government of Ireland Act in 1920 created Home Rule in Ireland, formerly directly ruled by England. The Republic of Ireland, the South, with its capital of Dublin is (nominally, at least) largely Roman Catholic. Northern Ireland is largely Protestant but with a large Roman Catholic minority. In general, the Protestants regard themselves as English (they’re considered “Unionists”) while the Roman Catholics consider themselves Irish although, in fact, a citizen of Northern Ireland born before 2004 could claim citizenship in either or both the U.K. and Ireland. (more…)

The Real Hero, by Dennis O’Neil

Deju vu all over again? Why, sure.

About 19 years ago, I was being pulled into the summer movie/blockbuster season anticipating two of the myriad entertainments soon to be playing at a theater near me. One was Tim Burton’s second Batman flick, with Michelle Pfeiffer as Catwoman and Danny Devito as a particularly nasty Penguin. Oh, and Michael Keaton in his final appearance as the Caped Crusader. (Back then, although he was not a barrel of laughs, he may have been just an eensy-bitsy too cheerful to qualify as a Dark Knight.) Batman was soaking up most of my professional life – I was editing the comic books – and I was writing a comics version of the screenplay, and so I had a distant, tenuous but real interest in the movie. And anyone who’s ever been involved with a Major Motion Picture knows that there is an excitement to such projects that ripples outward to touch even us at their distant edges. (Which may be why working in movies seems to be, for many, so addictive.) In sum: yeah, I was awaiting the Batman flick with more than idle curiosity.

But what I was really waiting for was Indiana Jones and the Last Crusade. Batman was my job; Indy was my hero. I may have been associating him with an earlier hero, Mr. Paladin, who was the central character in a once-popular, 30-minute TV western called Have Gun, Will Travel. What No-First-Name Paladin and Indiana Jones had in common, besides impressive looks and charisma, and the ability to look good riding a horse, a powerful sense of right and wrong, and great prowess in combat with either fists or weapons, was this: They were smart. More – they were readers! And more – they were even intellectuals!

(more…)

Captain America Creator Joe Simon: ‘We Wuz Robbed’

  • News
  • April 18, 2008

simon_joe_captainamerica-2154505Speaking to The New York Times, Captain America co-creator Joe Simon reflected on the character and his struggle to gain some of the rights to the Captain America franchise. Simon will be one of the speakers at this weekend’s New York Comic Con.

Simon and Jack Kirby ended up leaving the franchise after fighting with publisher Martin Freeman over royalties, and they ended up at Detective Comics. Simon recalled that skirmish:

“We always felt ‘we wuz robbed,’ as Joe Jacobs, the boxing promoter, used to say,” Mr. Simon said of his dispute over the ownership of Captain America, which he settled out of court with Marvel in 2003. He said his royalties for merchandising and licensing use of the hero now help pay his legal bills from the case.

But copyright was not on Mr. Simon’s mind when he was conceiving Captain America. He didn’t even begin with the hero. “Villains were the whole thing,” he said. And there was no better foil than Hitler. Who better to take him on than a supersoldier draped in the American flag?

(via Doomkopf)

‘Superhero Movie’ Review by Michael H. Price

  • News
  • March 23, 2008

superhero-movie-1s-4938097

The superhero, and I don’t mean sandwich, has been a staple of the popular culture since well before the Depression-into-wartime beginnings of Superman and Batman. Those characters’ nascent comic-book adventures of 1938-1939 served primarily to focus a popular fascination with superhuman struggles against extravagant menaces – but similarly conceived protagonists had existed all along in ancient mythology and mass-market popular fiction. And how better to explain the superior heroic intellect of Conan Doyle’s Sherlock Holmes and Seabury Quinn’s phantom-fighting Jules de Grandin, or the beyond-normal escapades of Robin Hood and the Scarlet Pimpernel?

People need heroes, he said – if I may adapt a thought from Mike Gold’s recent Hope Versus Fear commentary at ComicMix. Such characters spur the imagination to assume hope in the face of fearful real-world circumstances, even if their activities and abilities (and allegorical antagonists) seem patently outside the realm of possibility. And the spiritual generosity of superheroism is such that people are willing to fork over either hard-earned cash or Daddy’s Money to experience the fantasy: Hence the proliferation of super-hero comic books in the immediate backdraft and long-term vapor-trails of Superman and Batman, and hence those characters’ fairly prompt leap into motion pictures during the 1940s.

Many people regard the superhero movie phenomenon as a fairly recent development, traceable as “far back” as Sam Raimi’s Spider-Man breakthrough of 2002, or maybe to the perceived “antiquity” of Richard Donner’s Superman pictures of 1978-1980. Not by a long shot.

Nor are the inevitable superhero parodies – as seen in David Zucker’s collaborative production of Superhero Movie, due March 28 – any particular innovation. Just as there is something awe-inspiring about some guy in long-john tights, hurdling buildings or piercing the veil with a blast of X-ray vision, there also is something innately ridiculous about such a spectacle. Even some of the earlier superhero films, such as Columbia Pictures’ Batman serials of the 1940s, emerged as unwitting parodies despite (or because of) their more earnest aims.

The formal parodies are a rarer breed. Zucker had proved himself a capable spoofer with 1980’s Airplane! – a well-received lampoon of the large-ensemble disaster-movie genre – much as Mel Brooks had parodied such genres as the Western epic and the Gothic horror film (1974’s Blazing Saddles and Young Frankenstein) to pleasing effect. Both artists were springing from the influence of Harvey Kurtzman’s Mad magazine of the mid-century, with its recurring demonstration that a parody must harbor an affectionate understanding of the story it intends to spoof.

(more…)

‘Tintin’ Publisher Raymond Leblanc Dies at 92

  • News
  • March 22, 2008

raymondleblanc-3143069

Raymond Leblanc, who helped create a worldwide phenomenon from the comic book series Tintin, died on Friday, according to an article in the Economic Times. He was 92.

The Belgian publisher helped create the Tintin Journal, which ended up bringing the characters of cartoonist Herge to audiences in several continents. From the article:

A resistance fighter during the Second World War, Leblanc convinced Tintin’s artistic creator Georges Remi to launch a periodical for the young. Herge had encountered difficulty publishing his work during the war.

The iconic boy reporter character had first appeared in 1929, with 12 books already under Herge’s name, but the association with Leblanc saw Tintin become the hero of a fortnightly magazine born in 1946 to immediate success.

Leblanc’s simultaneous creation of the Lombard publishing house, aimed at readers "from seven to 77," met rapid growth as Tintin’s success expanded.

A translated interview with Leblanc given not long ago is available at Forbidden Planet, and gives an incredible insight into Leblanc and his career in comics. Here’s a small sample, detailing the beginnings of the Tintin legacy:

“Why not publish an illustrated magazine for young people?”, one of my partners asked at a certain point. We thought this was an interesting idea, and started looking for a name. We ended up eventually with Tintin, after Hergé’s comic book hero. Literally everyone knew that character at that moment. The question however was, where was Hergé? Nobody knew where he was. During the war he had worked for Le Soir, a paper that was controlled by the Germans, and so he had been branded a collaborator. My associate André Sinave went to look for him, and was able to find him.

Now we only had to find enough money to start up the magazine. Our plan was a bold one, especially since Hergé was being prosecuted at that point. His first reaction was “This is impossible”. Nevertheless, we presented him a five year contract. “And we as resistance men will do everything within our powers to return your civil rights to you.” You have to remember that Hergé wasn’t even allowed to ride a bicycle at that time. Hergé hesitated for a long time and consulted with his good friend Edgar Pierre Jacobs. In the end he agreed. I think because he had liked us from the moment we met. I had thought before that Hergé was quite an old man, since I had read the adventures of Tintin since 1929. He turned out to be only a few years older than myself.

‘Too Much Coffee Man’ Opera Gets a Sequel

  • News
  • March 19, 2008

Too Much Coffee Man, the comic that became an opera, is returning for a "Refill."

Shannon Wheeler’s crazed series about the caffeine-fueled adventures of an eclectic group of coffee house regulars (and the barista who serves them) has always been a guilty pleasure of mine, so I was equally thrilled and perplexed by the creator’s decision to adapt the comic into an opera in 2006. The end result was a really enjoyable show and soundtrack (with hilarious supplemental video).

And now, Wheeler and the TMCM crew are returning to the stage for an operatic sequel titled "The Refill" — which, according to the PR, picks up where the first opera left off:

The Too Much Coffee Man Opera is the story of an idealistic hero, named Too Much Coffee Man, as he competes with rival Espresso Guy for the attention of a Barista. Unfornately, she has her own agenda, to be a super hero.

The second opera, titled the Refill, picks up two years later. The Barista has fulfilled her superhero dream… and she’s married a Martian. Unfortunately she’s bored. She hopes caffeine will cure her ennui and calls Too Much Coffee Man for help. Antics ensue as Espresso Guy tries to win her back by pretending to be Too Much Coffee Man.

Too Much Coffee Man: The Refill begins April 4 in Portland, OR. Details from the PR are provided after the jump.

 

(via TheBeat) (more…)

DVD Review: ‘Legion of Superheroes’ Vol. 2

Maybe the most surprising thing about how much I’ve enjoyed the first episodes of the Legion of Superheroes cartoon series is how little I enjoy the team’s comic book adventures. I always liked the concept of the Legion, but the futuristic team has too large of a cast and too complex of a history for me to jump into.

The cartoon series (from Warner Brothers and DC) fixes those two criticisms by hemming in the team size to a handful of key characters and streamlining the background: A young [[[Superman]]] is pulled into the future to help a fledgling group of heroes save the world. Simple enough.

In this second volume (containing the episodes [[[Champions]]], [[[Fear Factory]]], [[[Brain Drain]]] and [[[Lightning Storm]]]), the team goes through a series of challenges that manage to be kid-appropriate without being overly simplistic. Like the legendary Batman: The Animated Series, the Legion consists of standalone episodes but also builds a deeper narrative of themes and plots, giving it appreciable depth.

Particularly, this volume highlights the character development of Lightning Lad as he becomes a greater hero, and that of his brother, Mekt, as he becomes a villain. Meanwhile, Superman finds his powers have limits, which serves as a lesson as he tries to become the universe’s greatest hero.

I definitely wouldn’t put this series on the same level as [[[Batman: TAS]]], but it’s a fun, clever and exciting foray into the 31st Century.

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks