Superheroes remain a dynamic comic book
concept, a modern mythology, well adapted to cinema with CGI. Comics and film
script writers endlessly renew the concept. Several comics put superheroes, or
the closely related masked avengers and costumed adventurers, into the real world.
(i) A
Nazi accepts Alan Moore's Marvelman as the superman. When a super-villain
devastates London, the horror is graphic, but then Marvelman's pantheon
effortlessly replaces the UN and national governments and institutes utopia.
(ii) In
Alan Moore's Watchmen,
the nuclear-powered Doctor Manhattan changes the balance of power and practical
technology simply
by existing.
(iii) Alan Moore transformed the Swamp
Thing from a mud monster into a plant elemental who could change the
world but thinks that to do so would be to impede evolution.
(iv) Moore's Superman stories avoid or
rationalize the character's absurdities.
(v) Moore's League of Extraordinary
Gentlemen presents a literary superhero team.
(vi) Roy Thomas' Young All Stars
retconned literary and mythological characters into comics' Golden Age.
(vii) Thomas'
The Last Days of the Justice Society
linked the end of World War II to the Ragnarok.
(viii) In Frank Miller's Batman: Year
One and The Dark Knight Returns, the Batman is an anonymous vigilante
wanted by the police. When he also becomes a political embarrassment, the US
President sends Kent to bring him down. The government is also troubled by an archer
saboteur but is hampered by its own policy of concealing the existence of
costumed crime fighters and super powered beings from the public.
(ix) Alan Moore's The Killing Joke,
about the criminally insane Joker, asks whether one bad day would be enough
to drive you or me mad.
(x) Kurt Busiek's Astro City
puts everyday people into a superhero world. They picnic on a skyscraper roof to
watch a super powered fight overhead.
(xi) Alan Moore's Tom Strong,
presenting a strong man who was raised in high gravity not on Krypton but in a
terrestrial laboratory, restored fun to superheroes after Moore and his imitators
had made them dark and serious.
(xii) Moore's Top Ten presents
the police force of a city where nearly everyone is super powered. The pizza
delivery boy has super speed. A hot dog vendor cooks dogs with heat vision.
(xiii) Moore's Promethea puts a
superheroine into an appropriately magical and mythological context and presents
the author's philosophy.
(xiv) Mark Millar's The Ultimates
transforms Marvel Comics' main superhero team into the US Superhuman Defence
Initiative. Its members include a former mental patient with a hammer who claims
to be, and happens to be, the son of Odin. The US says that it will not deploy
persons of mass destruction, then sends Steve Rogers to rescue hostages.
(xv) Marv Wolfman transformed Lex
Luthor from a wanted criminal and frequent convict into a billionaire
industrialist/philanthropist, the most powerful man in Metropolis until someone
arrives whom he cannot buy...
(xvi) John Byrne reduced Superman's
powers to finite levels. He also replaced the timid Clark Kent as an implausible disguise
for Superman with Superman as a public disguise for the confident and athletic
Kent.
(xvii) The Smallville TV series
shows Jonathan, Martha and Clark Kent, Lionel and Lex Luthor,
Lana Lang, Pete Ross and Chloe Sullivan in Smallville while Clark's powers develop.
(xviii) The Lois and Clark TV
series (not as good) is about Lois Lane and Clark Kent and the latter, as we
know, happens to be Superman who re-heats coffee with heat vision and uses his
flight power to levitate in his apartment.
(xix) Some good novels have been based
on both TV series.
(xx) The Marvel Comics Thunderbolts are
former super-villains hired by the government to track down unregistered
superheroes: a good guys bad guys reversal.
(xxi) Garth Ennis' "The Boys" are a CIA
team tasked to curtail the dangerous activities of corporately backed
superhero teams that are parodies of the Justice League, X-Men etc.
(xxii) Mark Millar's Kick-Ass
asks: Why has no one ever done it? What would happen if you or I donned a
costume and went on the street? Kick-Ass is stabbed and run over but, after an
unlikely series of events, does become the first of a wave of real life
superheroes, mainly thanks to internet publicity.
(xxiii) Current Marvel films about
individual superheroes cleverly build towards a team film. The coda after the
credits of Iron Man II shows the
discovery of a hammer in a crater... Nick Fury, who says in the Ultimates
comic that he should be played by Samuel L. Jackson, is played by Samuel L.
Jackson.
(xxiv) The
Dark Knight film, not based on Miller's masterpiece,
ends with the Batman pursued by the police, the idea being that, since District
Attorney Harvey Dent has failed to be a White Knight for Gotham City, the
vigilante must be its "Dark Knight." Miller's earlier graphic novel ended with
the Batman apparently dead and even buried, although dug up, after a climactic
fight with Kent. With both the Bruce Wayne and Batman identities closed, he is
free to train survivalists in the Cave...
(xxv) My Hero is a TV comedy
series about the domestic life of a superhero's secret identity.
(xxvi) and (xxvii) Neil Gaiman's Black
Orchid and Sandman transformed costumed crime fighters into different
kinds of characters.
(xxviii) and (xxix) In different series,
Mike Grell and Andy Diggle made the Green Arrow a credible character.
(xxx) Alan Moore wrote good treatments
of the Green Arrow and the Vigilante.
There are other examples that I am not
familiar with. My
point here is the diversity and wealth of superheroes.
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