I understand that some people think Superman is creepy and he makes them a little uncomfortable – he does wear his underwear on the outside of his pants after all. But I want to address this idea of Superman as the Nietzchean ubermensch, when in fact, the character hasn’t ever really represented that ideal.
In 2001’s Action Comics #775 , writer Joe Kelly asked the question, “What’s so funny about Truth, Justice, and the American Way?” Kelly was responding in part to a trend in comic books that embraced heroes that took extreme actions towards their villains, often killing or permanently maiming their foes. The violent trend is one part reaction to the “revolving prison door” trope that allows series fiction to reuse villain characters, and one part the emergence into the field of a generation of creators that came of age in the 80s and 90s. Publishers Dark Horse and Image Comics built their entire businesses around providing consumers with content graphically depicting violence and brutality, and populated by heroes and villains that embraced the narcissistic nihilism of a generation raised with a dominantly post-modern viewpoint that insisted on deconstructing any kind of ethical or moral standard.
Curtis and I continue our Doomsday Prepping, focusing this time on how to get ready for the advent of the Dark Sun, when a rogue asteroid spins our planet into a closer orbit, turning the world into a desert planet. Curtis got some new toys, and we do a bit about using the new Dwarven Forge miniature dungeon. The pieces are really spectacular, and there will be pictures posted into the blog later in the week. Other topics include updates on our plans to attend Fear the Con 5, Free Comic Book Day, and the premiere of The Avengers this weekend. Check out the artwork from Atomic Earth, and send us some feedback to email@example.com! Continue reading Dark Sun Apocalypse
Ghost Rider: Spirit of Vengeance roared into theaters this weekend, and I squeezed some time out to catch an early matinee. I’ve been a Ghost Rider fanboy since 1982, when Roger Stern shared the writing credits with J.M. DeMatteis. I read my older brother’s abandoned comic books under the covers with a flashlight, thrilling to the explosive action of a guy who rode a flaming motorcycle, and horrified at the tortures Johnny Blaze underwent in his quest for redemption. Those stories were equal parts morality play and schlock horror, and I loved every minute of it. Many years later, Chuck Dixon and Mark Texeira brought more adult sensibilities to the story, along with a new origin, purpose, and powers for the Ghost Rider. At the same time, Marvel reprinted the final issues of the 1973 run – the very issues that had hooked me on the character – and I came to appreciate the storytelling on an entirely different level. Although the Ghost Rider has appeared in a few cartoons, he’s never had a major motion picture, and I anticipated eagerly the release of the 2007 picture. Five years later, I’m still excited to see another theater release, and I’m hoping for a better treatment of the character.
Alternate and parallel earths are a staple of modern science-fiction, due in no small part to the prevalence, or even dominance, of these stories in the pages of the DC comics titles all through the 60’s, 70’s and into the 80’s. Though the company departed from this convention during the late 80’s and 90’s, duplicate earth stories are back with a vengeance, in the comics, on the tv series, and finally in the movie-length releases.
I was surprised to find “Planet Hulk” on the new movie shelf this week, not having seen any trailers for the project at all. Given Lion’s Gate’s track record with Marvel properties, and especially with adaptations of existing stories, I didn’t hesitate to slip the Blu-Ray version in between the laundry soap and frozen pizzas, where my wife would hopefully overlook it until we’re at the checkout lane….
Mistreatment of my favorite characters makes me crazy. Unearned reputation makes me crazy. Spending two and a half years on a comic book hoping against hope that it will turn out to be epic (or at least comprehensible) makes me crazy! And when the Powers That Be decide to turn a waste of paper into a waste of film, shoot a trailer and promotional reel that looks freakin’ awesome, and then utterly fail to deliver the goods on a product that I really should have known better than to buy in the first place . . . well that really makes me crazy!
A tale of loyalty and unlikely friendship featuring two of the most famous super-heroes on the planet, Superman/Batman: Public Enemies pairs the Man of Steel with the Dark Knight. The iconic heroes unite when President Lex Luthor accuses Superman of terrible crimes against humanity and assembles a top-secret team of powerhouse heroes to bring Superman in. But the “World’s Finest” duo are determined to topple the corrupt president’s reign once and for all!
-from the ad copy on the back cover of the trade paperback edition
Perspective: I picked up issue one of the new series Superman/Batman with hope that the adoption of the Kids WB Superman/Batman logo from the Saturday morning adventure hour heralded the same kind of storyteling, glanced at the clean, manga-esque interior art by Ed McGuinness, and finally noticed Jeph Loeb’s name in the writer’s credit. I put the book down and walked quickly away. Loeb’s excellent thriller Batman: the Long Halloween had made enough of an impression in my mind that I also purchased the overly sentimental Superman For All Seasons by the same creative team. After that disappoinment, Jim Lee’s astounding art coupled with the promise of another detective thriller lured me into the twelve-part Hush – densely packed with guest-stars, nonsensical plot device, and held together by author’s fiat. It wasn’t until issue seven centered on Superboy and Robin that I reluctantly acquired the back-issues; at that I point I felt morally compelled to at least purchase the book until the story-arc had been completed. Twenty-five issues later, I want my money back.
Surprisingly, when Green Lantern: First Flight included a teaser for this project, I couldn’t wait to see the translation to animation. I expected a clean adaptation of Ed McGuinness’ spectacular and dynamic artwork accompanied by a team of editors to turn Loeb’s poorly plotted showcase of his partner’s artistic talent into a massive brawl wherein the World’s Finest take turns whuppin’ up on a parade of guest stars. Time for popcorn.
Background: The “World’s Finest” team of Superman and Batman have appeared in one form or another as friends and allies in adventure since 1941. The two characters share an iconic status in the pantheon of DC heroes, and it is this status rather than equality of ability that has them joined at the hip in graphic literature. The so-called “contrasting characterization” is a relatively recent innovation, as the heroes shared virtually identical story structures even into the 1980’s: villain appears; villain confounds hero; hero uses deus ex machina to restore the status quo. These characters have not been used consistently in this fashion, nor in any continuing shared publication, since DC reorganized their internal continuity of story in 1984.
Following the success of adapting Darwyn Cooke’s Justice League: the New Frontier from graphic novel to animation, the adaptation of other best-selling publications seemed only natural. Superman/Batman: Public Enemies presented an opportunity to use multiple DC character properties without attaching the words “Crisis” or “Justice League” to the project.
Media Junkie rates the book:
Media Junkie rates the movie: Continue reading Public Enemies
It was my great priveledge to have Paeter Frandsen of Spirit Blade Productions give up some of his busy work day to talk about his current project: Dark Ritual, upcoming projects, and the essential nature of Green Lantern.
Continue reading Spirit Blades, Lantern Rings