As explored in my previous post, Comic Art 101, http://readinginsidetheboxes.blogspot.com/2011/10/comic-art-101-j-scott-campbell-skottie.html, comic book scripting is a unique and interesting component to developing and maintaining a strong comic narrative, where words accompany art to tell a story in a variety of ways. A great comic scriptor can communicate all elements of a scene that the artist will interpret and illustrate to move the story forward. Just as every artist is unique in their own style, each scriptor conveys their narrative in a unique manner. For this post, I'll be focusing on Mark Millar's script for Civil War, and Ed Brubaker's script for Captain America Volume 5. As each writer is distinct in their own notation, each artist conveys these cues into a finished artistic page, moving the story forward panel by panel. The unique element in each of these scripts is that the each artist has a similar style: Steve Epting for Brubaker's Captain America and Steve McNiven for Millar's Civil War both have a realistic style where characters have normal proportions and dimensions. As each artist is unique in their approach in how to communicate their story via story pages and artwork, each script writer will be just as unique. Comic Book scripting is a crucial component in developing a brilliant comic book for the masses to enjoy.
Again, as mentioned above, the artist in Brubaker's Captain America is Steve Epting. Epting utilizes a very realistic and proportioned style that accentuates the physical aspects of each character in a 'real world' perspective. Epting actually lists the full process for developing Captain America (volume 5) #40, where he interprets the script that Ed Brubaker provides. http://steveepting.blogspot.com/2008/07/page-process.html He explains how: "I'll usually go through and do thumbnails directly on the script pages as I'm reading it. These are generally quick impressions, and are subject to change (to put it mildly). Here's the thumbnail for page 11:" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDmey_8MHYdQNThYaVFb8JoOUBz1vbyqf6yp4Gc-uWM2RI-mWiYklOT-V1Vt-QWkLql9wFLYqnEyK4aUeYEJGnTi5uzpRdKBd4AbCaXCX6AgnJbBuKElpiqHMIwa3b7XR9zLH0vl3iftd/s1600-h/40111.jpg (Epting, Page Process). From this point forward, Epting then transforms his basic pencils into a more coherent whole, and then proceeds to ink those pencils: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbzbS-JUZ_EKGPz8paGRgoq6tA63WevIzermNz9AVfMK7RzwaKiOrgK_csnkm5LQzw5Vjfeljv8if_-sbbnZDU1fy-YxuxYfGpznE67afonpmGjQbSw1j1JtvVbDO0_GQZZm3-4u75hAS/s1600-h/40112.jpg and https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqYwef_IVu8oRXuePfI6meejcVNUL-JlwiE-ITvkN5CKrg8OUkdRVatw5gxwRgDdVawgLbme2nGCrykrTs9dNcqEpRLOo6lmDTAczrjThzLm1eETiSrXh6BhIx4tsWga7ZwYrWTtn1TED/s1600-h/40114.jpg. These pages communicate the script notes, the angle of viewing, and all the elements of the story to be conveyed from only a small amount of notes. In this case, the writer is leaving the artist the resources to communicate this story to the best of their ability. Epting is brilliant for being able to take a small idea with even smaller notes, and then take those notes and make incredible art out from them. When the inked pencils are complete, the page goes to the colorer to complete the process: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YKKnd6elrv6-jpUyko-VeEseq-wdmXsSB26j4oQ3a5Cyl3DRA3pXVJTpoRT7i2252Jw0tmwXMMu2SIbhMURiEqpPxln72EGUcpdbBzBPObK1NKzBztY7ymdaH1WP6i_bogowqkheDXpk/s1600-h/40115.jpg. Epting explains how:
"Finally, it's uploaded to the folks at Marvel, who then pass it on to the one and only Frank D'Armata for coloring-- and that's that. I don't follow these steps exactly for every page, but for the most part this is how it's done. I'm constantly trying to tweak this process and eliminate steps in an attempt to increase speed and production, so this is all subject to change" (Epting, Page Process).
This collaborative process ensures that great comic material is developed each week, month, etc. for the reader to enjoy. Epting's art is very kinetic and based in realism so each character has accurate proportions and moves in the real world around them. Though these are fantastic characters, the artistic flair of Steve Epting allows for the reader to enjoy the story that much more. Captain America has no natural superpowers, but is an enhanced super soldier, capable of incredible feats that an average man wouldn't dream of being able to complete. With the series grounded in realism, this style fits the story like a glove. Another noteworthy story that was grounded firmly in realism when considering public disdainwas Marvel's Civil War where a similarly styled artist, Steve McNiven, brought the flair for the realistic to this landmark story to enhance and solidify this (fictionalized) real-world narrative.
Though Ed Brubaker has his own methods of developing comic pages (as viewed above) Mark Millar has his own voice in how his vision is conveyed. This is most evident in the opening pages of Civil War. This story is firmly grounded in realism, and an artist with a flair for realistic proportions and style was needed to legitimize the seriousness of this dramatic story where superheroics are handled in the real world. Though the story is of dangerous superhumans battling to the death at the cost of human life, Millar communicates these pages in fine detail, with a clear tone to Steve McNiven to develop and draw to move this story forward. Millar begins the story breakdown panel by panel by mentioning how McNiven should:
"PAGE EIGHT AND NINE: Cut to just a few hours later and a double-page spread where, most prominently, we see Captain America and Iron Man standing in full-figure shots in the ruins of this place. It looks like a Hiroshima picture with burned bones everywhere. The place is in darkness and we see lots of Avengers and X-men helping out here with the rescue effort, everyone wearing oxygen masks and working with the official rescue workers. Cap and Iron Man are just surveying the quite awesome damage here. I see this as a full-figure shot of Iron man and Cap (one on each page) but you're the boy, Steve McNiven. Your call" (Millar, Script Book, 9).
Following Millar's brilliant script, McNiven translates these disparate notes into this incredible 2-page spread illustrating Millar's vision for the horrific damage following Stamford's destruction: http://images4.wikia.nocookie.net/__cb20060406214421/marveldatabase/images/7/76/Civil_War_Opening_Shot_Sketchbook_Vol_1_1.jpg http://www.dailyhaggis.com/wp-content/uploads/2006/07/civilwar01.jpg
Again, much like Steve Epting above, Steve McNiven has taken Mark Millar's notes and created a breathtaking artistic representation that communicates the death of innocents, the future struggle between Iron Man and Captain America as both are on opposite sides of the future law, and convey's Millar's vision of the damage. McNiven's pencils are completed, inked and colored and finally enhanced with Millar's notes and captions to fully communicate the horrific scene depicted. An artist is only as strong as his best scriptor, and both Millar and Brubaker show this skill masterfully through their artists Steve Epting and Steve McNiven.
A comic book scriptor is the architect who designs and envisions where a story will ultimately end up, with a prominent artist to convey those designs in an artistic fashion. As comic book crafting is a collaborative process, the ability for both parties to write and illustrate is an impressive thing to consider, as each party is key to taking a brilliant (or abstact) idea, while communicating it in a way that convey's the writer's initial vision, moving the story forward. Not many forms of written media can duplicate what comics can, and the key to this unique medium's continued success is the collaborative process between descriptive scriptors, and the brilliant and talented artists that communicate those notes. These are only two noteworthy examples, but there are a myriad of talented writers and artists that push the boundaries of this medium every day.
Monday, October 10, 2011
Wednesday, October 5, 2011
Comic Art 101: J. Scott Campbell, Skottie Young and Jim Lee
Comics and Graphic Novels have two distinct elements: one part is text and scripting, another is sketching, inking and coloring. Comics and Graphic Novels are unique in the sense that both pieces work in tandem to tell the story. Great comic artists are amazing in their own right, even under deadlines to meet monthly, bi-weekly or even weekly art commitments. I've selected 3 great artists in the comic book field, each with their own unique vision and approach to comic art.
The basics of Comic Artwork is the original (real or digital) pencil sketch which provides the skeleton which is how the picture take shape. The artwork then moves to the inker who enhances the pencils of the original artist, adding touches of light and shadow and depth to the artwork for effect. A great inker can enhance the original artwork and add perspective to a 'static' comic panel. Great pencilers and inkers go hand-in-hand when producing superb comic artwork. One of the best in the business is J. Scott Campbell.
J. Scott Campbell draws Harley Quinn, a supervillainess from Batman for an artwork commission. This is Campbell in action: http://www.youtube.com/watch?v=7xuOk4LnY5s He starts off by drawing the base framework of the art by using pencils. Next, he fills in those pencils (3:13) by using a marker. Campbell inks his own drawing, and fills in the minute details that really make the artwork pop. From this point forward, the art can then move to the colorist to fill in the appropriate areas. A great artist has an incredible inker to add perspective to the sketch, and the colorist builds on the previous labors of penciler and inker. Though Campbell pencils and inks his drawing, the white space is generally red on the character's profile. A great colorist can enhance any comic artist's previous efforts in a collaborative process. Some artists manage pencil, ink and color their own artwork brilliantly.
Skottie Young is a unique artist that is recognized for his distinct artistic style, and is the regular artist for Marvel's adaptation of The Wizard of Oz. Here are just some of his fantastic efforts on display: http://skottieyoungstore.bigcartel.com/products Skottie sketches, inks and colors his daily sketches, but uses computer programs to enhance his pencils, inks, etc. Again, his very stylized and unique art style is expressive, but retains a sense of wonder and oddness that stands out among other artists. Skottie inks a cover for The Wizard of Oz adaptation: http://www.youtube.com/user/skottieart#p/u/8/XdsEsb_CcKQ Again, Skottie pencils the sketch before inking it digitally, but uses the tools available to bring out the depth and shadow that he wishes to convey from the sketch. By using these inking tools, he can make changes easily without damaging the original sketch. Skottie has penciled and inked many of his own works for various comic companies which is an incredible feat: http://www.skottieyoung.com/p/about.html Generally speaking, comic book art is a three step process, penciling, inking and coloring, but sometimes one artist can complete all aspects of it.
Jim Lee is one such artist. Lee pencils, inks and colors this commissioned piece of The Joker from Batman: http://www.youtube.com/watch?v=Es00TDfFQPY This is a fantastic example of the comic art process in action. He starts with 'pencils' with light marker lines, fills in the more defined lines with marker, and then fills in the subtle details with red marker highlights. Jim Lee is one of the most dynamic and revered artists in the field, and is a regular contributor to DC comics. Jim's pencils have an incredible amount of detail within them initially, but when inked and enhanced, the true mastery of his artwork shines through. In this pencil drawing from Batman: Hush, Jim Lee has an incredible amount of detail in the initial stages of his work. When applying the colors and inks to the drawing, the brilliance of his detail work shines through: http://scifimafia.com/wp-content/uploads/2010/11/hush1.jpg The detailing and cleanup of those initial lines is brilliantly rendered with the additional detail. The small details and embellishments in Lee's artwork convey a large field of vision, and brilliant shadowing and depth are brought to the surface with the colored art on the right.
There are hundreds of incredibly skilled pencilers, inkers and colorists in the field of Comic Books/Graphic Novels, but being a great artist is a collaborative process. Though Comic Book art can convey the simplest aspects the script writer lays out, great art takes on a life of its own when all the pieces are in place. Comic Book art is as integral to the direction of the story as the words on the page, but both aspects are needed for a great comic book to tell a great story. Sometimes, a picture tells 1000 words. This is such a picture: http://www.youtube.com/watch?v=_xp_tY4KNhI&feature=related This is a magnificent example of an incredible artist creating incredible artwork for incredible stories. Comic Books and Graphic Novels are like no other medium in print, especially when backed by spectacularly talented artists.
The basics of Comic Artwork is the original (real or digital) pencil sketch which provides the skeleton which is how the picture take shape. The artwork then moves to the inker who enhances the pencils of the original artist, adding touches of light and shadow and depth to the artwork for effect. A great inker can enhance the original artwork and add perspective to a 'static' comic panel. Great pencilers and inkers go hand-in-hand when producing superb comic artwork. One of the best in the business is J. Scott Campbell.
J. Scott Campbell draws Harley Quinn, a supervillainess from Batman for an artwork commission. This is Campbell in action: http://www.youtube.com/watch?v=7xuOk4LnY5s He starts off by drawing the base framework of the art by using pencils. Next, he fills in those pencils (3:13) by using a marker. Campbell inks his own drawing, and fills in the minute details that really make the artwork pop. From this point forward, the art can then move to the colorist to fill in the appropriate areas. A great artist has an incredible inker to add perspective to the sketch, and the colorist builds on the previous labors of penciler and inker. Though Campbell pencils and inks his drawing, the white space is generally red on the character's profile. A great colorist can enhance any comic artist's previous efforts in a collaborative process. Some artists manage pencil, ink and color their own artwork brilliantly.
Skottie Young is a unique artist that is recognized for his distinct artistic style, and is the regular artist for Marvel's adaptation of The Wizard of Oz. Here are just some of his fantastic efforts on display: http://skottieyoungstore.bigcartel.com/products Skottie sketches, inks and colors his daily sketches, but uses computer programs to enhance his pencils, inks, etc. Again, his very stylized and unique art style is expressive, but retains a sense of wonder and oddness that stands out among other artists. Skottie inks a cover for The Wizard of Oz adaptation: http://www.youtube.com/user/skottieart#p/u/8/XdsEsb_CcKQ Again, Skottie pencils the sketch before inking it digitally, but uses the tools available to bring out the depth and shadow that he wishes to convey from the sketch. By using these inking tools, he can make changes easily without damaging the original sketch. Skottie has penciled and inked many of his own works for various comic companies which is an incredible feat: http://www.skottieyoung.com/p/about.html Generally speaking, comic book art is a three step process, penciling, inking and coloring, but sometimes one artist can complete all aspects of it.
Jim Lee is one such artist. Lee pencils, inks and colors this commissioned piece of The Joker from Batman: http://www.youtube.com/watch?v=Es00TDfFQPY This is a fantastic example of the comic art process in action. He starts with 'pencils' with light marker lines, fills in the more defined lines with marker, and then fills in the subtle details with red marker highlights. Jim Lee is one of the most dynamic and revered artists in the field, and is a regular contributor to DC comics. Jim's pencils have an incredible amount of detail within them initially, but when inked and enhanced, the true mastery of his artwork shines through. In this pencil drawing from Batman: Hush, Jim Lee has an incredible amount of detail in the initial stages of his work. When applying the colors and inks to the drawing, the brilliance of his detail work shines through: http://scifimafia.com/wp-content/uploads/2010/11/hush1.jpg The detailing and cleanup of those initial lines is brilliantly rendered with the additional detail. The small details and embellishments in Lee's artwork convey a large field of vision, and brilliant shadowing and depth are brought to the surface with the colored art on the right.
There are hundreds of incredibly skilled pencilers, inkers and colorists in the field of Comic Books/Graphic Novels, but being a great artist is a collaborative process. Though Comic Book art can convey the simplest aspects the script writer lays out, great art takes on a life of its own when all the pieces are in place. Comic Book art is as integral to the direction of the story as the words on the page, but both aspects are needed for a great comic book to tell a great story. Sometimes, a picture tells 1000 words. This is such a picture: http://www.youtube.com/watch?v=_xp_tY4KNhI&feature=related This is a magnificent example of an incredible artist creating incredible artwork for incredible stories. Comic Books and Graphic Novels are like no other medium in print, especially when backed by spectacularly talented artists.
Monday, October 3, 2011
Nihilism of Thanos
Many supervillains seek to eliminate their foes, or to make a name for themselves in the superpowered community, but few are total agents of death like Thanos. Thanos is a galactic supervillain that seeks to honor his mistress, Death. Thanos worships this otherworldly entity and seeks to eliminate any life to thrill her. She brought him back from the afterlife to be a harbinger of bloodshed and violence. Seeing as he is a naturally powerful individual on his own, when augmented with the Infinity Gauntlet in the 1991 storyline, he becomes even more capable of annihilating life in the universe. He can turn characters into toy blocks, skin into glass and manipulate reality to kill any in his way. Thanos is an agent of death, and a brilliant representation of Nihilism in the Comic Book form. http://www.comicvine.com/infinity-gauntlet/39-42233/ http://www.iep.utm.edu/nihilism/
As previously mentioned, Thanos is brought back from the dead and augmented with the Infinity Gauntlet which is comprised of gems that manipulate power, alter reality, augment physical abilities, make wishes that break scientific laws, manipulate minds, and manipulate spirits that are living or dead. Thanos is already a formidable enemy in his own right, but when enhanced with the Infinity Gauntlet, he nearly eliminates half of the life in the universe to please his mistress, Death. To say that Thanos enjoys his work is an understatement, but he truly seeks to enter Death's good graces as he idolizes her powerful hold on the universe. This is perfectly communicated by the space-faring soldier,Silver Surfer:
"Apparently Death has long thought the fact that there are more people alive today than have ever died was a type of cosmic imbalance. This was an irregularity that she sought to right using the dark powers at her disposal. And so she made the tragic mistake of retrieving Thanos, the mad titan, from the realm of the dead. Through him, Death would mold the universe to her liking. Along with renewed life, Death gave him greatly augmented power. Death has ordered Thanos to slaughter half of the sentient population of the universe" (Starlin, Infinity Gauntlet #1, page 9-10)!
Thanos literally becomes an agent of death, seeking to please his handler and lover, Death. In her vision, life cannot be too abundant in the universe, and she revives Thanos to return the universe to cosmic balance. Thanos is all too willing to enact her decree and begins to eliminate life in broad strokes. In the above description, Thanos is a living weapon, molded to serve his dark master to kill sentient life to appease her. Thanos is capable of eliminating scores of living beings throughout the universe on a whim.
This doesn't mean that their relationship is healthy or 'normal' by any stretch of the imagination, as Death uses Thanos as a tool and nothing more. She is a fickle mistress and is only appeased when millions of deaths are at his hands. She is upset that Thanos killed the protectors of the gems, her celestial bretheren to gain ultimate power over reality. Thanos is upset at her disdain, and seeks to gain her favor again:
"Darling mistress, your scorn wounds me deeply. It was never my intention to wrong you nor, do I believe, I have. True, I did use the powers you granted me to seek out the infinity gems, to become the supreme being that now stands before you. But I only sought such glory to be worthy of your love. Your love is bondage. NO! You are WRONG! Death should be revered! We shall decide the fate of a million solar systems and all that inhabit them" (Starlin, Gauntlet, 21-22)!
Thanos is the perfect combination of both danger and ignorance. Since he doesn't realize he is being used as an instrument for his Death's whims, he continues to kill indiscriminately to appease her and gain her approval. In this exchange, it becomes clear that Thanos will do anything to gain her approval, even if it means killing entire solar systems or decimating billions of sentient beings. Thanos' danger comes in his violent manipulation of the Infinity Gems, but his true danger comes in his disregard for all life in order to appease Death. He is also incredibly frustrated with her spurning: "Did I not butcher the woman who gave me birth, who force fed me this Hell called life?! Death is with me every second of the day!! My every moment is spent in either dealing out Death or worshiping it!! Who under the stars is better suited than I to be Death's Consort (Starlin, Gauntlet, 26-27)?
Though Thanos is frustrated with his situation, he still takes it in stride to murder. In order to gain Death's affection, he begins to systematically eliminate the Marvel superheroes one by one in unique and horrific ways. He begins by having two heroes skin dissolve incredibly quickly, encasing another in a box of glass where he suffocates and another's bones into rubber where they collapse and die. He shows off for Death by manipulating reality: "Good God! Thanos has turned Thor into glass!! Back off, prune face! No one's bustin' up Thor while Nova's around! Not round. Square. Square as in cubes. Like a child's toy blocks (Starlin, Gauntlet #4, 31). Thanos then proceeds to crush Nova (in block form) into dust, while shattering Thor into glass shards with a flick of his wrist. He is playing with his prey, and relishing in the display of complete power, but to no avail. While he is the most powerful being in the known universe, Death is still ambivalent. Thanos then flaunts his full wrath, eliminating entire solar systems in his blind rage: "Entire Solar Systems in the immediate vicinity are ravaged by the effects of this celestial clash. Calculating the billions of lives lost as a result of this confrontation will have to wait (Starlin, Gauntlet #5, 9).
His wrath and spurned rage costs billions of sentient beings their lives as his gauntlet extinguishes lives with a flick of his wrist. This boundless slaughter has the opposite effect of what he's seeking for Death. She is disgusted with his display and is finished with the titan. Thanos is then humbled and shocked that he has done his job too well. Thanos is defeated and eventually loses control of his gauntlet as the heroes rebuild reality. It took the complete eradication of reality and billions upon billions of lives for Thanos to realize that he was being manipulated by Death for her own ends. Thanos in all his nihilistic glory realizes the error of his ways, though galaxies were eliminated to find true cosmic balance. She is turned off by the excessive killing Thanos displays and ultimately loses his grip on sanity. This magnificent miniseries shows the destructive nature of lover's spurned and how an individual with ultimate power can carve a murderous rampage throughout worlds, galaxies, etc. to prove a point. Thanos truly loved Death and wanted to do anything to gain her favor. He is a tragic, nihilistic figure that kills scores of beings to achieve his goals. Thanos is the ultimate nihilist in Comic Book fiction.
As previously mentioned, Thanos is brought back from the dead and augmented with the Infinity Gauntlet which is comprised of gems that manipulate power, alter reality, augment physical abilities, make wishes that break scientific laws, manipulate minds, and manipulate spirits that are living or dead. Thanos is already a formidable enemy in his own right, but when enhanced with the Infinity Gauntlet, he nearly eliminates half of the life in the universe to please his mistress, Death. To say that Thanos enjoys his work is an understatement, but he truly seeks to enter Death's good graces as he idolizes her powerful hold on the universe. This is perfectly communicated by the space-faring soldier,Silver Surfer:
"Apparently Death has long thought the fact that there are more people alive today than have ever died was a type of cosmic imbalance. This was an irregularity that she sought to right using the dark powers at her disposal. And so she made the tragic mistake of retrieving Thanos, the mad titan, from the realm of the dead. Through him, Death would mold the universe to her liking. Along with renewed life, Death gave him greatly augmented power. Death has ordered Thanos to slaughter half of the sentient population of the universe" (Starlin, Infinity Gauntlet #1, page 9-10)!
Thanos literally becomes an agent of death, seeking to please his handler and lover, Death. In her vision, life cannot be too abundant in the universe, and she revives Thanos to return the universe to cosmic balance. Thanos is all too willing to enact her decree and begins to eliminate life in broad strokes. In the above description, Thanos is a living weapon, molded to serve his dark master to kill sentient life to appease her. Thanos is capable of eliminating scores of living beings throughout the universe on a whim.
This doesn't mean that their relationship is healthy or 'normal' by any stretch of the imagination, as Death uses Thanos as a tool and nothing more. She is a fickle mistress and is only appeased when millions of deaths are at his hands. She is upset that Thanos killed the protectors of the gems, her celestial bretheren to gain ultimate power over reality. Thanos is upset at her disdain, and seeks to gain her favor again:
"Darling mistress, your scorn wounds me deeply. It was never my intention to wrong you nor, do I believe, I have. True, I did use the powers you granted me to seek out the infinity gems, to become the supreme being that now stands before you. But I only sought such glory to be worthy of your love. Your love is bondage. NO! You are WRONG! Death should be revered! We shall decide the fate of a million solar systems and all that inhabit them" (Starlin, Gauntlet, 21-22)!
Thanos is the perfect combination of both danger and ignorance. Since he doesn't realize he is being used as an instrument for his Death's whims, he continues to kill indiscriminately to appease her and gain her approval. In this exchange, it becomes clear that Thanos will do anything to gain her approval, even if it means killing entire solar systems or decimating billions of sentient beings. Thanos' danger comes in his violent manipulation of the Infinity Gems, but his true danger comes in his disregard for all life in order to appease Death. He is also incredibly frustrated with her spurning: "Did I not butcher the woman who gave me birth, who force fed me this Hell called life?! Death is with me every second of the day!! My every moment is spent in either dealing out Death or worshiping it!! Who under the stars is better suited than I to be Death's Consort (Starlin, Gauntlet, 26-27)?
Though Thanos is frustrated with his situation, he still takes it in stride to murder. In order to gain Death's affection, he begins to systematically eliminate the Marvel superheroes one by one in unique and horrific ways. He begins by having two heroes skin dissolve incredibly quickly, encasing another in a box of glass where he suffocates and another's bones into rubber where they collapse and die. He shows off for Death by manipulating reality: "Good God! Thanos has turned Thor into glass!! Back off, prune face! No one's bustin' up Thor while Nova's around! Not round. Square. Square as in cubes. Like a child's toy blocks (Starlin, Gauntlet #4, 31). Thanos then proceeds to crush Nova (in block form) into dust, while shattering Thor into glass shards with a flick of his wrist. He is playing with his prey, and relishing in the display of complete power, but to no avail. While he is the most powerful being in the known universe, Death is still ambivalent. Thanos then flaunts his full wrath, eliminating entire solar systems in his blind rage: "Entire Solar Systems in the immediate vicinity are ravaged by the effects of this celestial clash. Calculating the billions of lives lost as a result of this confrontation will have to wait (Starlin, Gauntlet #5, 9).
His wrath and spurned rage costs billions of sentient beings their lives as his gauntlet extinguishes lives with a flick of his wrist. This boundless slaughter has the opposite effect of what he's seeking for Death. She is disgusted with his display and is finished with the titan. Thanos is then humbled and shocked that he has done his job too well. Thanos is defeated and eventually loses control of his gauntlet as the heroes rebuild reality. It took the complete eradication of reality and billions upon billions of lives for Thanos to realize that he was being manipulated by Death for her own ends. Thanos in all his nihilistic glory realizes the error of his ways, though galaxies were eliminated to find true cosmic balance. She is turned off by the excessive killing Thanos displays and ultimately loses his grip on sanity. This magnificent miniseries shows the destructive nature of lover's spurned and how an individual with ultimate power can carve a murderous rampage throughout worlds, galaxies, etc. to prove a point. Thanos truly loved Death and wanted to do anything to gain her favor. He is a tragic, nihilistic figure that kills scores of beings to achieve his goals. Thanos is the ultimate nihilist in Comic Book fiction.
Friday, September 30, 2011
The Altruism of Deadman
To give unselfishly to others is a reward unto itself, but when it directly benefits others in a positive way, it is truly worthwhile. Deadman is a character that makes the best of a bad situation. Boston Brand/Deadman died in a horrific way while performing in a circus and was bestowed the gift of eternal life as a spirit, though he is fated to improve the lives of others to remain conscious and whole in his ethereal form. As Deadman, Boston Brand is doing more good in death than he ever could in life. Though he is motivated to remain alive, his ability to turn lives around for the better is a true indicator of altruistism.
Though Deadman seeks to remain among the 'living,' his leaps from one person to another turns their lives to a more positive path. He can influence the decision-making of any individual, and improves their quality of life in the process. Boston/Deadman explains this quite clearly:
"I've lived lifetimes. More than I can count. I've done my best as to help many people as I can. I've changed since I first took on this gig. Used to be, I liked the thrill of the ride, helping interesting people solve their interesting problems. I've been a stuntman and a a spy and a police detective. But lately it's been more people like this guy--Johnny Foster--who made it home minus his legs when all of his buddies were killed by an I.E.D. Lucky Him" (Jenkins, DC Universe Presents: Deadman, 9-12).
Boston Brand influences and changes lives for the better more frequently than he realizes. He has lived the fantasy lives he'd wished for in his human existence, but now is seeking to help those that are truly down on their luck and needing a change in their lives. In this case, Deadman is seeking to help a guilt-ridden soldier manage to find peace after tragedy and horrific disfigurement. Johnny, Boston's vessel, has completely imploded into himself and is refusing any help to cope with his personal hell. Though he doesn't know this man personally, Boston is compelled to help him overcome his adversity to find personal redemption with only a gentle push. Boston is seeking to atone for being a self-absorbed jerk in his previous life:
"I was not a good man. That's why I'm living out lifetimes with no end in sight. At first, I knew what I was supposed to do. I put together the interesting jigsaw puzzle lives of strangers. Johnny Foster becomes another living brick on my path to enlightenment. Another innocent soul about to get stuck to my shoe. Well, maybe I was never a good guy, and maybe I was never the really big fish. But if there's one thing I do know from living other people's lives it's that I've changed" (Jenkins, Deadman, 24-26).
Deadman realizes that in doing better by others while improving their lives, he can ultimately better himself. This isn't a selfish action, but a selfless action, as he is seeking to pay back all the harm that he's done in his former life as a 'bad man.' Though he knows he is doing important work in the universe through his actions, he is still incredibly conflicted about the 'good' he is truly accomplishing: "A young soldier with a brain injury and no legs is about to become my responsitibility. What eventually happens to him is going to be my fault. All of thsoe people...all of the bricks..."(Jenkins, 16). This symbiotic relationship improves both Boston's life and Johnny's life in the process. Though he is seeking to remain a part of the living world, Boston Brand/Deadman is altruistic in the sense that he improves lives at his expense. Though he may not realize it, Deadman is a brilliant example of altruism in the Comic Book Form.
Though Deadman seeks to remain among the 'living,' his leaps from one person to another turns their lives to a more positive path. He can influence the decision-making of any individual, and improves their quality of life in the process. Boston/Deadman explains this quite clearly:
"I've lived lifetimes. More than I can count. I've done my best as to help many people as I can. I've changed since I first took on this gig. Used to be, I liked the thrill of the ride, helping interesting people solve their interesting problems. I've been a stuntman and a a spy and a police detective. But lately it's been more people like this guy--Johnny Foster--who made it home minus his legs when all of his buddies were killed by an I.E.D. Lucky Him" (Jenkins, DC Universe Presents: Deadman, 9-12).
Boston Brand influences and changes lives for the better more frequently than he realizes. He has lived the fantasy lives he'd wished for in his human existence, but now is seeking to help those that are truly down on their luck and needing a change in their lives. In this case, Deadman is seeking to help a guilt-ridden soldier manage to find peace after tragedy and horrific disfigurement. Johnny, Boston's vessel, has completely imploded into himself and is refusing any help to cope with his personal hell. Though he doesn't know this man personally, Boston is compelled to help him overcome his adversity to find personal redemption with only a gentle push. Boston is seeking to atone for being a self-absorbed jerk in his previous life:
"I was not a good man. That's why I'm living out lifetimes with no end in sight. At first, I knew what I was supposed to do. I put together the interesting jigsaw puzzle lives of strangers. Johnny Foster becomes another living brick on my path to enlightenment. Another innocent soul about to get stuck to my shoe. Well, maybe I was never a good guy, and maybe I was never the really big fish. But if there's one thing I do know from living other people's lives it's that I've changed" (Jenkins, Deadman, 24-26).
Deadman realizes that in doing better by others while improving their lives, he can ultimately better himself. This isn't a selfish action, but a selfless action, as he is seeking to pay back all the harm that he's done in his former life as a 'bad man.' Though he knows he is doing important work in the universe through his actions, he is still incredibly conflicted about the 'good' he is truly accomplishing: "A young soldier with a brain injury and no legs is about to become my responsitibility. What eventually happens to him is going to be my fault. All of thsoe people...all of the bricks..."(Jenkins, 16). This symbiotic relationship improves both Boston's life and Johnny's life in the process. Though he is seeking to remain a part of the living world, Boston Brand/Deadman is altruistic in the sense that he improves lives at his expense. Though he may not realize it, Deadman is a brilliant example of altruism in the Comic Book Form.
Thursday, September 29, 2011
The Absolutism of Cable
Average people seek to make changes in the world through volunteering, donating their time or money, or simply helping a neighbor who is struggling. Organizations seek to do the most good with their resources such as the Red Cross. In the comic book world of Cable and Deadpool (2004), the character Cable develops a "God Complex" and truly believes that he can save the world from itself by uniting all people under his rule, despite their consternation. He seeks to eliminate racism, classism, and end nearly all human suffering. Cable builds a floating fortress in the sky, and truly believes he is doing the most good through his actions. It later is discovered that his actions are creating more strife and agony for those that don't see or share his vision of the world, as he is mentally manipulating these people into utopia. This character illustrates a clear case of Absolutism.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Sunday, September 25, 2011
The Pessimism of Penance
A common idiom about the true nature of good deeds is that "The road to Hell is paid with good intentions." This is the case for Robbie Baldwin, who makes a foolhardy decision that costs 600+ people their lives in the Stamford Disaster which starts the Superhero Civil War as explored in previous postings. Robbie takes his poor decision to heart, and believes that his suffering is what he deserves in life as he carries all those tragic deaths on his shoulders. Robbie's transformation into "Penance" is indicative of his guilt and dark pessimism. Robbie suffers time and again in order to atone for his wrongdoing, as he is violently assaulted and ridiculed by the public and those close to him. His own family eventually deserts him to distance themselves from their "terrorist" son. Robbie truly believes that he deserves all the suffering he undergoes, and eventually befriends the horrors he faces daily in order to transform from a happy-go-lucky superhero, into a dark, tortured and violent supervillain. Robbie's transformation is a tragic view of one man's journey into a pessimistic, tortured soul.
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
Monday, September 19, 2011
The Dualism of The Sentry
You are the world's greatest hero, and you are a beacon of strength and determination that many other heroes and everyday people flock to. You are the Sentry. Your archenemy is aptly named "The Void," but the crux of your adversarial relationship rests within your being. This is The Sentry at his simplest-a man that tries to prove himself time and again as a paragon of heroics, while his dark half, The Void, seeks to destroy all that the "good" half accomplishes. Robert Reynolds/The Sentry is a perfect example of dualism: " the idea is that, for some particular domain, there are two fundamental kinds or categories of things or principles. In theology, for example a ‘dualist’ is someone who believes that Good and Evil — or God and the Devil — are independent and more or less equal forces in the world." http://plato.stanford.edu/entries/dualism/ The Sentry's dual personalities define his character, and it is no coincidence that this character is at odds with his identity as he is literally composed of two different beings sharing one body and mind.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
Monday, September 12, 2011
The Realism of Spider-man (Civil War pt. 2)
Imagine yourself stuck between the love of your life and your successful career outside of your happy home. You have an opportunity to improve not only your life, but your significant other's life and your elderly Great Aunt whom you love like a mother. Would you take it? Most of us would, of course, but what if it meant that your safety and security were on the line everyday of your life? This is the crisis that Peter Parker/Spider-man faces in the Marvel Event, Civil War, which permeated every corner of the Marvel Universe, swept up in sociopolitical undercurrents, chiefly manifested in progressive legislation that caused more death and bloodshed in its aftermath. http://www.comicvine.com/civil-war/39-40615/ The elements of realism in Spider-man's tale are easy to observe and appreciate as he is simply an ordinary man with extraordinary powers at his disposal. These relatable traits make Spider-man's journey over this story arc both compelling and tragic, through a human and realistic lens.
The dichotomy between safety and financial security as a duly appointed government operative under "The Superhero Registration Act" proves difficult for Peter/Spidey, as there are horrific consequences for both choices. If he chooses to comply, his identity will be known, as well as the identities of his wife and Aunt which will immediately put them in harm's way. If he chooses to resist, he'll be a wanted fugitive obstructing justice, with his wife ant Aunt accomplices for aiding and abetting a known criminal and wanted felon. Either way, the consequences are dire. This is tensely discussed between Tony Stark/Iron Man and Peter:
"It's not me asking, Peter. If you don't unmask, you'll be just like the other powers who defy the law. Wanted Criminals. Hunted. Jailed. Not just you, but MJ and your Aunt, because they'd be considered accomplices. If you turn against the law, I can't have you with me. I won't be able to protect you or your family" (Straczynski, #532 10-11).
The reality of the situation shows on Peter's face as he contemplates revealing his identity to benefit his family, or become a felon. We can relate to this impossible situation as people make impossible decisions every day in their lives, sometimes between life or death, or knowingly doing the wrong thing for future benefits. Again, Peter Parker is at his simplest, a regular man at odds with his dual nature and conflicting loyalties.
This internal struggle continues in the story as Peter becomes uneasy about his choice to step before the public, despite the consequences in favor the "Super Hero Registration Act." Again, like many of us that are terrified of public speaking, or revealing a deep, dark secret, the notion of queasiness and nausea are real symptoms of a psychosomatic fear or "stage fright" before, during or after the fact:
"It wasn't the easy thing to do, but it was the right thing to do." "HURRCCHH!!" "Did you see the look their faces when you told them your real name?" "HURRCCHH!!" "You okay, Peter?" " I think I just woffed up a hot dog that I ate when I was twelve." "Not possible." "No? There's still some of it on my shoes. Wanna see" (Straczynski, #533, 5)?
The humanity of Peter Parker makes it easy to appreciate the horror he is facing, realistic sense. We feel as though we are under the weight of this foreboding law as it looms large upon him and his family. This is apparent when he reflects upon his choice: "I wonder what the hell I'm doing here. I'm legal. I'm registered. I'm authorized. And as I feel this whole situation starting to unravel all around me, I just hope to God that I'm also right" (Straczynski, #534, 23). We feel Peter's pain and incredible burden to bear, and empathize with his him as if he were a real human being with real struggles and hurdles to jump to make ends meet and to continue a "normal" existence.
The boiling point is finally reached when Peter realizes he's made the wrong choice, and puts his family's well-being above his own, to fight back against Iron Man as the latter has been imprisoning fugitives without due process in a super max prison, with no means to a fair trial or due process. As soon as Peter sees the horrific treatment of former heroes and villains (despite their histories), he is disgusted and immediately turns on his mentor. He moves out of his cushy, government subsidized luxury apartment, and runs from the law. His nature as a fugitive sets the trajectory for his family's life in the issues to follow. The guilt and shame manifests itself in Peter's dialogue with his wife, Mary Jane:
"I'm sorry baby, I'm so sorry." "I know. So I went by the bank and cleaned out both our accounts. It's not a lot, but it'll cover us for a while, as long as nothing disastrous happens." "You mean like today?" "Well, there goes my sense of security." "If you stay, you're both going to end up on the run with me, going from one dive to another, using different names...the stress will be enormous. (Straczynski, #536, 7-9)"
The consequences for this family were doomed from the beginning, as they were known to the public, at the mercy of Spider-man's rogues, and with Peter as a fugitive from the law, the U.S. Government and his former friends/allies are searching far and wide to bring him to justice. The consequences for this fictional character never feel too out of the ordinary, despite the superhero identity. The journey of a man that makes a poor decision that disrupts his private family life, only to permanently change their trajectory for the worse. This essential version of the story feels human and realistic in every sense of these words. We feel as Peter Parker feels from his unease and nausea before announcing his identity to the world, his internal conflict stemming from his decision, his attempt to rectify his decision and run from the law as a fugitive with his family, and his internal dialogues about what truly is right and wrong under the law. Despite his nature as a superhuman being in spandex fighting crime with an Iron Man by his side, Peter Parker remains an everyman character that struggles as we all struggle with the difficulties and complexities of life. Regardless of his nature as a fictional character, Spider-man remains one of the most relatable and realistic characters in fiction.
The dichotomy between safety and financial security as a duly appointed government operative under "The Superhero Registration Act" proves difficult for Peter/Spidey, as there are horrific consequences for both choices. If he chooses to comply, his identity will be known, as well as the identities of his wife and Aunt which will immediately put them in harm's way. If he chooses to resist, he'll be a wanted fugitive obstructing justice, with his wife ant Aunt accomplices for aiding and abetting a known criminal and wanted felon. Either way, the consequences are dire. This is tensely discussed between Tony Stark/Iron Man and Peter:
"It's not me asking, Peter. If you don't unmask, you'll be just like the other powers who defy the law. Wanted Criminals. Hunted. Jailed. Not just you, but MJ and your Aunt, because they'd be considered accomplices. If you turn against the law, I can't have you with me. I won't be able to protect you or your family" (Straczynski, #532 10-11).
The reality of the situation shows on Peter's face as he contemplates revealing his identity to benefit his family, or become a felon. We can relate to this impossible situation as people make impossible decisions every day in their lives, sometimes between life or death, or knowingly doing the wrong thing for future benefits. Again, Peter Parker is at his simplest, a regular man at odds with his dual nature and conflicting loyalties.
This internal struggle continues in the story as Peter becomes uneasy about his choice to step before the public, despite the consequences in favor the "Super Hero Registration Act." Again, like many of us that are terrified of public speaking, or revealing a deep, dark secret, the notion of queasiness and nausea are real symptoms of a psychosomatic fear or "stage fright" before, during or after the fact:
"It wasn't the easy thing to do, but it was the right thing to do." "HURRCCHH!!" "Did you see the look their faces when you told them your real name?" "HURRCCHH!!" "You okay, Peter?" " I think I just woffed up a hot dog that I ate when I was twelve." "Not possible." "No? There's still some of it on my shoes. Wanna see" (Straczynski, #533, 5)?
The humanity of Peter Parker makes it easy to appreciate the horror he is facing, realistic sense. We feel as though we are under the weight of this foreboding law as it looms large upon him and his family. This is apparent when he reflects upon his choice: "I wonder what the hell I'm doing here. I'm legal. I'm registered. I'm authorized. And as I feel this whole situation starting to unravel all around me, I just hope to God that I'm also right" (Straczynski, #534, 23). We feel Peter's pain and incredible burden to bear, and empathize with his him as if he were a real human being with real struggles and hurdles to jump to make ends meet and to continue a "normal" existence.
The boiling point is finally reached when Peter realizes he's made the wrong choice, and puts his family's well-being above his own, to fight back against Iron Man as the latter has been imprisoning fugitives without due process in a super max prison, with no means to a fair trial or due process. As soon as Peter sees the horrific treatment of former heroes and villains (despite their histories), he is disgusted and immediately turns on his mentor. He moves out of his cushy, government subsidized luxury apartment, and runs from the law. His nature as a fugitive sets the trajectory for his family's life in the issues to follow. The guilt and shame manifests itself in Peter's dialogue with his wife, Mary Jane:
"I'm sorry baby, I'm so sorry." "I know. So I went by the bank and cleaned out both our accounts. It's not a lot, but it'll cover us for a while, as long as nothing disastrous happens." "You mean like today?" "Well, there goes my sense of security." "If you stay, you're both going to end up on the run with me, going from one dive to another, using different names...the stress will be enormous. (Straczynski, #536, 7-9)"
The consequences for this family were doomed from the beginning, as they were known to the public, at the mercy of Spider-man's rogues, and with Peter as a fugitive from the law, the U.S. Government and his former friends/allies are searching far and wide to bring him to justice. The consequences for this fictional character never feel too out of the ordinary, despite the superhero identity. The journey of a man that makes a poor decision that disrupts his private family life, only to permanently change their trajectory for the worse. This essential version of the story feels human and realistic in every sense of these words. We feel as Peter Parker feels from his unease and nausea before announcing his identity to the world, his internal conflict stemming from his decision, his attempt to rectify his decision and run from the law as a fugitive with his family, and his internal dialogues about what truly is right and wrong under the law. Despite his nature as a superhuman being in spandex fighting crime with an Iron Man by his side, Peter Parker remains an everyman character that struggles as we all struggle with the difficulties and complexities of life. Regardless of his nature as a fictional character, Spider-man remains one of the most relatable and realistic characters in fiction.
Saturday, September 10, 2011
The Progressivism of Marvel's 'Civil War'
Typically, those in society look to officers of the law to protect them in times of extreme need, or when their physical integrity in immediate danger. What if our public officials were state-sponsored, regulated super heroes? It sounds so simple and logical that one wouldn't give much thought to the opposite idea. But, what if it was your body and reputation on the line? Your name and criminal background would be public knowledge, and any and all dangerous, deranged people would know your best kept secret: your identity. The 7-issue story arc Civil War is at its core, a big bold superhero beat-em-up, but if one digs a little deeper, the legislation that sets this chain of events is: "The Superhero Registration Act," which splits the superhero community in two while directly infringing on their right to privacy and civil liberties.
Throughout the story, heroes struggle with conflicting mentalities about 'doing the right thing' for their country, while staying true to themselves and their personas. The tragedy is set in motion when a super powered clash occurs that kills 626 people. Many of the victims are children at a nearby school, which causes public outrage at the superhero community for allowing this tragedy to occur. The tragedy's figurehead is Miriam Sharpe, a mother who lost her young son. Her scathing view of superheroes pushes public opinion to regulation and passing of "The Superhero Registration Act": "Cops have to train and carry badges, but that's too boring for Tony Stark. Naw, Joe Billionaire here says all you need are some powers and a bad-ass attitude, and you can have a place in his private super-gang. You fund this sickness, Stark. With your dirty billions" (Millar, 15).
Although this is a superhero story, there are several real-world overtones that influence the plot and direction of the story. The Patriot Act was a response to the horrific terror attacks that rocked New York City on 9/11/01, when we traded our civil liberties to feel safer. Our phone, medical and other private records were laid bare in the name of National Defense. This story is a clear allegory of what happened that tragic day and the reactionary legislation that came from it. A tragic and deadly event occurs that kills hundreds of innocent children. The public screams for increased national defense. The superhero community splits in two in response to the bill that directly infringes upon an individual's right to privacy and civil liberties in the name of defense. The direct contemporary connections are hard to ignore. The author states: "...in a war, people do dramatic things. There's blood on the hands of both sides, but that's war for you. It's never pretty. But they're superheroes and were only doing this stuff for the right reasons" (Millar, Script Book 181). Much like the public in the real world felt reactive legislation was the right response, the fallout from the decision has unforeseen consequences in the fictional world as well.
Though the author states superheroes are choosing to do the right thing, but it doesn't make them any less conflicted over the law. Tony Stark/Iron Man reflects on his struggle: " 'Twenty minutes to go, Tony. Word is [sic] that we're looking at thirty-eight signatures already.' 'Oh, God. Please let us be doing the right thing here...'" (Millar, 41). Furthermore, friends and allies come to blows about the dangers of the law: " 'The Secret Identity thing isn't such a big deal. The Fantastic Four have been public since the very beginning, and it's never really been a serious concern.' 'Yeah, well...not until that day I come home and find my wife impaled [sic], and the woman who raised me begging for her life'" (Millar, 20). Even though these are fictional people, the stakes are incredibly high for either side of the law. Spider-man is fearful for his immediate family's safety, whereas the Fantastic Four see no immediate threat and readily sign up. Those with nothing to lose in their extended family lives or financial stability readily sign up, but those that have much to lose from being super heroes, instead fight the law, and go underground as criminals. The tension violently explodes, and is poignantly examined by Steve Rogers/Captain America: "They're right. We're not fighting for the people anymore. Look at us. We're just fighting. They're not arresting Captain America, they're arresting Steve Rogers. That's a very different thing" (Millar, 173-174). The power in those words resonates among the fighting heroes, as the escalating tension subsides. Millar states this strongly: "I read the papers, I watch the news and this is what seeps into my writing...obviously, there's a certain amount of political allegory in a story where a guy wrapped in the American flag is in chains as the people swap freedom for security" (Millar, Script 145).
This 7-part story captured what was on the minds of the American people after the signing of the Patriot Act, and functions as a cautionary tale of government progressivism in terms or reactionary law. This particular reactionary law did far more harm than good, which led to the deaths of hundreds more people over an ideological difference. The philosophical analysis of progressivism is interwoven throughout this story in multiple story beats and themes. This is a clear 'meta-text' on the dangers of reactionary progressivism.
Throughout the story, heroes struggle with conflicting mentalities about 'doing the right thing' for their country, while staying true to themselves and their personas. The tragedy is set in motion when a super powered clash occurs that kills 626 people. Many of the victims are children at a nearby school, which causes public outrage at the superhero community for allowing this tragedy to occur. The tragedy's figurehead is Miriam Sharpe, a mother who lost her young son. Her scathing view of superheroes pushes public opinion to regulation and passing of "The Superhero Registration Act": "Cops have to train and carry badges, but that's too boring for Tony Stark. Naw, Joe Billionaire here says all you need are some powers and a bad-ass attitude, and you can have a place in his private super-gang. You fund this sickness, Stark. With your dirty billions" (Millar, 15).
Although this is a superhero story, there are several real-world overtones that influence the plot and direction of the story. The Patriot Act was a response to the horrific terror attacks that rocked New York City on 9/11/01, when we traded our civil liberties to feel safer. Our phone, medical and other private records were laid bare in the name of National Defense. This story is a clear allegory of what happened that tragic day and the reactionary legislation that came from it. A tragic and deadly event occurs that kills hundreds of innocent children. The public screams for increased national defense. The superhero community splits in two in response to the bill that directly infringes upon an individual's right to privacy and civil liberties in the name of defense. The direct contemporary connections are hard to ignore. The author states: "...in a war, people do dramatic things. There's blood on the hands of both sides, but that's war for you. It's never pretty. But they're superheroes and were only doing this stuff for the right reasons" (Millar, Script Book 181). Much like the public in the real world felt reactive legislation was the right response, the fallout from the decision has unforeseen consequences in the fictional world as well.
Though the author states superheroes are choosing to do the right thing, but it doesn't make them any less conflicted over the law. Tony Stark/Iron Man reflects on his struggle: " 'Twenty minutes to go, Tony. Word is [sic] that we're looking at thirty-eight signatures already.' 'Oh, God. Please let us be doing the right thing here...'" (Millar, 41). Furthermore, friends and allies come to blows about the dangers of the law: " 'The Secret Identity thing isn't such a big deal. The Fantastic Four have been public since the very beginning, and it's never really been a serious concern.' 'Yeah, well...not until that day I come home and find my wife impaled [sic], and the woman who raised me begging for her life'" (Millar, 20). Even though these are fictional people, the stakes are incredibly high for either side of the law. Spider-man is fearful for his immediate family's safety, whereas the Fantastic Four see no immediate threat and readily sign up. Those with nothing to lose in their extended family lives or financial stability readily sign up, but those that have much to lose from being super heroes, instead fight the law, and go underground as criminals. The tension violently explodes, and is poignantly examined by Steve Rogers/Captain America: "They're right. We're not fighting for the people anymore. Look at us. We're just fighting. They're not arresting Captain America, they're arresting Steve Rogers. That's a very different thing" (Millar, 173-174). The power in those words resonates among the fighting heroes, as the escalating tension subsides. Millar states this strongly: "I read the papers, I watch the news and this is what seeps into my writing...obviously, there's a certain amount of political allegory in a story where a guy wrapped in the American flag is in chains as the people swap freedom for security" (Millar, Script 145).
This 7-part story captured what was on the minds of the American people after the signing of the Patriot Act, and functions as a cautionary tale of government progressivism in terms or reactionary law. This particular reactionary law did far more harm than good, which led to the deaths of hundreds more people over an ideological difference. The philosophical analysis of progressivism is interwoven throughout this story in multiple story beats and themes. This is a clear 'meta-text' on the dangers of reactionary progressivism.
Wednesday, September 7, 2011
The Existentialism of Swamp Thing
What does it mean to be human? Is it the air we breathe? The concept of rational, logic thought? Or is our humanity something we cannot even begin to fathom? Alan Moore's celebrated run on The Saga of the Swamp Thing is one of the most poignant analyzes of humanity and self-perception in any written medium. Alan Moore dissects Swamp Thing into the most base parts in his landmark story The Anatomy Lesson. Moore's Swamp Thing is one of the most relatable and human characters you'll ever meet, despite being "a vegetable monster."
Alec Holland was once a scientist working on plant growth biology in swampland, only to have his work sabotaged by dynamite, incinerating his body as it plunged into the swamp. Days later, the Swamp thing rises from its watery grave to live again. The story starts out interestingly enough, at Swamp Thing's death. The autopsy, Anatomy Lesson,reveals that this creature is incredibly human-like, down to the organs and tissue. http://www.comicvine.com/the-saga-of-swamp-thing-the-anatomy-lesson/37-261279/ The scientist, Jason Woodrue, a noted botanist in his field, examines our protagonist to discover the organic structure of this creature and what makes it tick. He describes in surgical detail:
"What are they? His lungs or something? No. They look like lungs, but human lungs have tiny capillary tubes that let oxygen pass through into the blood. That's what lungs are for. These are vegetable fiber. Vegetable fibers are too coarse to allow molecules of oxygen through in that way. These things suck and blow, and they don't do anything else. They don't work. They're not lungs (Moore, 44)."
Woodrue then continues to dissect the creature discovering its brain, heart, and kidneys. These pieces all amount to something that once resembled a man. Though the lungs never worked, and the organs are essentially non-functioning (even in life), the character was once a living, moving, critically thinking creature. Does the physiology make the man? Existentialism is defined in finite yet broad terms by The Stanford Encyclopedia of Philosophy: "Existentialism does not deny the validity of the basic categories of physics, biology, psychology, and the other sciences (categories such as matter, causality, force, function, organism, development, motivation, and so on). http://plato.stanford.edu/entries/existentialism/It claims only that human beings cannot be fully understood in terms of them." Human beings are too complex to be defined in terms of biology and psychology, which makes The Anatomy Lesson unique in the analysis of the human condition.
Furthermore, we discover something more sinister under Woodrue's examination. He explains:
"It's dynamite. Five sticks of it.The combined effects of the blast and the reflex muscles in his legs propel him through the door and into the swamp, but Alec Holland is already dead. His body goes into the swamp along with the formula it is saturated with. Once there, it decomposes. Those plants eat him, and they become infected by a powerful consciousness that does not realize it is no longer alive! It was a plant that thought it was Alec Holland (Moore, 48)!" Does this make the Swamp Thing human? Does our consciousness make us human, or the sum of our parts and experiences? The questions of identity and existence are explored in this landmark issue as The Anatomy Lesson discovers the dark truth behind The Swamp Thing.
The issue comes to a roaring climax as Woodrue completes his report and reflects upon what he's discovered. We all ponder what our position in life is and what we're destined to do, but what if our lives were just a dream all along? What if our concept of consciousness and higher-level thinking was all just a charade to understand the concept of humanity? Why are we here? What is our purpose? The tragic nature of Swamp Thing is concluded by Woodrue:
"You see, throughout his miserable existence, the only thing that could have kept him sane was the hope that he might one day regain his humanity. If he's read my notes he'll know that just isn't true. He isn't Alec Holland. He never will be Alec Holland. He's just a ghost. A ghost dressed in weeds (58)."
This crushing realization has a profound impact on Swamp Thing, as it discovers how inhuman it truly is. This also picks at the notion of spirituality and reincarnation, albeit a dark and incredibly twisted one. The existential deconstruction is the key element to the success of this incredible issue. The notions of humanity, existence, spirituality, identity and predestination are all on display as the character is ripped apart, reborn as something more violent and disillusioned. The true death of Alec Holland is the death of Swamp Thing's hope of reclaiming its former life and humanity. This is most evident later when "Alec" reconnects with an old friend: " 'Actually, you know you were underwater for half an hour? You really don't need to breathe anymore?' 'I...never did. It was...only a habit. I...gave it up.' 'how does it feel to just stop breathing?' 'Strange. You realize...just how much...effort...it has been...all along (Moore, 138-139).'"
When Swamp thing finally renounces its humanity after falling into madness, it reflects in a cold, calculated objective manner: "There is a red and angry world. Red things happen there. The world eats your wife, eats your friends, eats all the things that make you human...and you become a monster (Moore, 87)." This is an incredible existential examination in it's bleakest, darkest terms. Moore's Saga of the Swamp Thing examines what it truly means to be human, or what one perceives as being human.
Alec Holland was once a scientist working on plant growth biology in swampland, only to have his work sabotaged by dynamite, incinerating his body as it plunged into the swamp. Days later, the Swamp thing rises from its watery grave to live again. The story starts out interestingly enough, at Swamp Thing's death. The autopsy, Anatomy Lesson,reveals that this creature is incredibly human-like, down to the organs and tissue. http://www.comicvine.com/the-saga-of-swamp-thing-the-anatomy-lesson/37-261279/ The scientist, Jason Woodrue, a noted botanist in his field, examines our protagonist to discover the organic structure of this creature and what makes it tick. He describes in surgical detail:
"What are they? His lungs or something? No. They look like lungs, but human lungs have tiny capillary tubes that let oxygen pass through into the blood. That's what lungs are for. These are vegetable fiber. Vegetable fibers are too coarse to allow molecules of oxygen through in that way. These things suck and blow, and they don't do anything else. They don't work. They're not lungs (Moore, 44)."
Woodrue then continues to dissect the creature discovering its brain, heart, and kidneys. These pieces all amount to something that once resembled a man. Though the lungs never worked, and the organs are essentially non-functioning (even in life), the character was once a living, moving, critically thinking creature. Does the physiology make the man? Existentialism is defined in finite yet broad terms by The Stanford Encyclopedia of Philosophy: "Existentialism does not deny the validity of the basic categories of physics, biology, psychology, and the other sciences (categories such as matter, causality, force, function, organism, development, motivation, and so on). http://plato.stanford.edu/entries/existentialism/It claims only that human beings cannot be fully understood in terms of them." Human beings are too complex to be defined in terms of biology and psychology, which makes The Anatomy Lesson unique in the analysis of the human condition.
Furthermore, we discover something more sinister under Woodrue's examination. He explains:
"It's dynamite. Five sticks of it.The combined effects of the blast and the reflex muscles in his legs propel him through the door and into the swamp, but Alec Holland is already dead. His body goes into the swamp along with the formula it is saturated with. Once there, it decomposes. Those plants eat him, and they become infected by a powerful consciousness that does not realize it is no longer alive! It was a plant that thought it was Alec Holland (Moore, 48)!" Does this make the Swamp Thing human? Does our consciousness make us human, or the sum of our parts and experiences? The questions of identity and existence are explored in this landmark issue as The Anatomy Lesson discovers the dark truth behind The Swamp Thing.
The issue comes to a roaring climax as Woodrue completes his report and reflects upon what he's discovered. We all ponder what our position in life is and what we're destined to do, but what if our lives were just a dream all along? What if our concept of consciousness and higher-level thinking was all just a charade to understand the concept of humanity? Why are we here? What is our purpose? The tragic nature of Swamp Thing is concluded by Woodrue:
"You see, throughout his miserable existence, the only thing that could have kept him sane was the hope that he might one day regain his humanity. If he's read my notes he'll know that just isn't true. He isn't Alec Holland. He never will be Alec Holland. He's just a ghost. A ghost dressed in weeds (58)."
This crushing realization has a profound impact on Swamp Thing, as it discovers how inhuman it truly is. This also picks at the notion of spirituality and reincarnation, albeit a dark and incredibly twisted one. The existential deconstruction is the key element to the success of this incredible issue. The notions of humanity, existence, spirituality, identity and predestination are all on display as the character is ripped apart, reborn as something more violent and disillusioned. The true death of Alec Holland is the death of Swamp Thing's hope of reclaiming its former life and humanity. This is most evident later when "Alec" reconnects with an old friend: " 'Actually, you know you were underwater for half an hour? You really don't need to breathe anymore?' 'I...never did. It was...only a habit. I...gave it up.' 'how does it feel to just stop breathing?' 'Strange. You realize...just how much...effort...it has been...all along (Moore, 138-139).'"
When Swamp thing finally renounces its humanity after falling into madness, it reflects in a cold, calculated objective manner: "There is a red and angry world. Red things happen there. The world eats your wife, eats your friends, eats all the things that make you human...and you become a monster (Moore, 87)." This is an incredible existential examination in it's bleakest, darkest terms. Moore's Saga of the Swamp Thing examines what it truly means to be human, or what one perceives as being human.
Friday, September 2, 2011
The Pragmatism of Batman
Batman: Detective, Martial Artist, and Pragmatist? No really! It's true! This character is the penultimate pragmatist in fiction. Batman is a character that makes mistakes like you or I do, yet manages to stay true to his life's goal of eradicating crime. Pragmatism is defined as : "character or conduct that emphasizes practicality," or "a philosophical movement or system having various forms, but generally stressing practical consequences as constituting the essential criterion in determining meaning, truth, or value." http://dictionary.reference.com/browse/pragmatism Batman is at his simplest: a man that fights crime. He is on a one-man crusade to eliminate criminals to prevent tragedy and injustice in the world. Batman is pragmatism defined.
Though he is a very driven man, he makes mistakes and pays for those mistakes dearly. Batman prides himself as the world's greatest detective and has honed his intellect to incredible levels in order to combat and eliminate threats as they happen. Batman is also a highly-trained martial artist, the pinnacle of human strength and fighting ability. Through years of pushing his body to the physical and mental limits, he has become the ultimate human being. This fills the definition of "practical consequences determining meaning, truth and value." Though he uses his considerable wealth and power to achieve these means, he is still an ordinary man pushing his superhuman intellect and physical prowess to their limits to succeed.
This determined nature also proves to be his undoing on many occasions as well. This is most evident in the 1980's story line A Death in the Family. Batman is vehemently against his partner's (Jason Todd) desire to discover his birth-mother, but is distracted with The Joker's (Batman's arch-rival) criminal empire reaching the Middle East. The two divergent plot threads intersect as Batman discovers that Jason has been set up by his two-timing birth-mother and captured by The Joker. He is left for dead with a time-bomb ticking ever closer to detonation, only for Batman to arrive too late to save his apprentice. Batman's driven nature is the main reason why Jason dies, and from this point forward, Batman becomes an even more focused detective, albeit more damaged as a result. The "practical consequences" in this sense have a marked and profound change in how Batman operates, and it is many years until a third apprentice, Tim Drake, will be accepted as Batman's partner when he accepts the lesson of Jason's death after learning it's "truth, meaning and value." http://www.comicvine.com/batman-a-death-in-the-family-batman-a-death-in-the-family/37-148619/
This character, like many others in long-form narratives, has profoundly deep emotions that define his humanity. The caveat to this character is that tragedy defines Batman. His campaign to eliminate crime, bring about justice and prevent tragedy defines his pragmatic nature. Christopher Nolan, the recent director of Batman Begins, and The Dark Knight, had this to say about the character and his humanity: "We did not want his quest to be for vengeance, we wanted it to be for justice. That’s what sends him looking for an outlet for his rage and frustration. What he chooses to do with it is, I believe, selfless, and therefore, heroic. And that, to me, is really the distinction—selfishness versus selflessness—and that is very noble. But it is a very fine distinction. Because Batman is limited by being an ordinary man, there’s a constant tension between pragmatism and idealism." http://www.scottholleran.com/interviews/christopher-nolan.htm
Batman is only an ordinary man, but a man at his physical and mental peak. Being such a driven man has it's consequences, but his true strength is the ability to learn from these mistakes. The world's greatest detective can handle nearly any situation using careful planning, while reflecting on previous wrongdoings to continue his quest to seek justice and eliminate crime. Batman is the ultimate pragmatist of comic book fiction.
Though he is a very driven man, he makes mistakes and pays for those mistakes dearly. Batman prides himself as the world's greatest detective and has honed his intellect to incredible levels in order to combat and eliminate threats as they happen. Batman is also a highly-trained martial artist, the pinnacle of human strength and fighting ability. Through years of pushing his body to the physical and mental limits, he has become the ultimate human being. This fills the definition of "practical consequences determining meaning, truth and value." Though he uses his considerable wealth and power to achieve these means, he is still an ordinary man pushing his superhuman intellect and physical prowess to their limits to succeed.
This determined nature also proves to be his undoing on many occasions as well. This is most evident in the 1980's story line A Death in the Family. Batman is vehemently against his partner's (Jason Todd) desire to discover his birth-mother, but is distracted with The Joker's (Batman's arch-rival) criminal empire reaching the Middle East. The two divergent plot threads intersect as Batman discovers that Jason has been set up by his two-timing birth-mother and captured by The Joker. He is left for dead with a time-bomb ticking ever closer to detonation, only for Batman to arrive too late to save his apprentice. Batman's driven nature is the main reason why Jason dies, and from this point forward, Batman becomes an even more focused detective, albeit more damaged as a result. The "practical consequences" in this sense have a marked and profound change in how Batman operates, and it is many years until a third apprentice, Tim Drake, will be accepted as Batman's partner when he accepts the lesson of Jason's death after learning it's "truth, meaning and value." http://www.comicvine.com/batman-a-death-in-the-family-batman-a-death-in-the-family/37-148619/
This character, like many others in long-form narratives, has profoundly deep emotions that define his humanity. The caveat to this character is that tragedy defines Batman. His campaign to eliminate crime, bring about justice and prevent tragedy defines his pragmatic nature. Christopher Nolan, the recent director of Batman Begins, and The Dark Knight, had this to say about the character and his humanity: "We did not want his quest to be for vengeance, we wanted it to be for justice. That’s what sends him looking for an outlet for his rage and frustration. What he chooses to do with it is, I believe, selfless, and therefore, heroic. And that, to me, is really the distinction—selfishness versus selflessness—and that is very noble. But it is a very fine distinction. Because Batman is limited by being an ordinary man, there’s a constant tension between pragmatism and idealism." http://www.scottholleran.com/interviews/christopher-nolan.htm
Batman is only an ordinary man, but a man at his physical and mental peak. Being such a driven man has it's consequences, but his true strength is the ability to learn from these mistakes. The world's greatest detective can handle nearly any situation using careful planning, while reflecting on previous wrongdoings to continue his quest to seek justice and eliminate crime. Batman is the ultimate pragmatist of comic book fiction.
Monday, August 29, 2011
Learning in the Comic Book Form
Comics can reach a variety of students of all learning abilities: Text-based, picture-based, or auditory-based while students can work out thematic elements in the comic book form. This unique piece of popular culture can also have a tremendous impact on students with a variety of learning disabilities and disorders. Students who don't feel confident enough to speak out about "traditional" novels may feel more inclined to participate in discussions on an alternative novel, such as the graphic novel version of Fahrenheit 451, as the pictures appeal to their visual acuity. Other students that struggle with word disorders, reading ability or dyslexia can benefit from a "silent comic (one with no words)" to aid their reading ability:
http://www.bleedingcool.com/forums/showthread.php?36255-Wednesday-Comic-Reviews-Fantastic-Four-588-and-Amazing-Spider-Man-655
Though both of the issues are silent in nature, the ability for students to read and interpret these panels/pictures to tell the story elevates comic books from simply a "juvenile" medium of popular culture, to one that can have a profound impact on how students learn. For example, Marvel Comics has recently posted an "audio-edition" version of Daredevil #1, which came out in stores last month:
http://marvel.com/news/story/16485/daredevil_1_audio_edition
http://marvel.com/files/podcasts/DAREDEVIL_1_edited.mp3
"This project came about because, as we were getting to relaunch the new daredevil book with Mark Waid, Paolo Rivera and Marcos Martin, on the creative side, we got a lot of letters from actual blind Marvel Comics readers who have friends who read comics to them ever single week the books come out. So I thought it would be a cool and fun little exercise to get a few of us together here, very impromptu, and read the first issue of Daredevil." Stephen Wacker
Like any other form of written media, comics and graphic novels can be read. Comic books and graphic novels also have a unique voice and identity all their own. Just as films are be novelized, graphic novels can be read and enjoyed by all types of students."There's no difference between a novel and an illustrated novel. "Ray Bradbury. http://www.amazon.com/gp/mpd/permalink/m30TKS9VUU3JDC/ref=ent_fb_link
Comic books and Graphic Novels can have a profound impact upon students with a variety of learning disorders: Dyslexia, where comics can tell stories in picture form, writing disability, where students can refer back to pictures to interpret and refer back to topics/themes in the work, or auditory processing disorder by means of graphic audiobooks using the pictures, words and audio to guide them. These are only some of the impressive methods comic books and graphic novels impact students of any grade level with nearly any form of learning disability. Just as each student is unique, there are a variety of unique means to appeal to their special educational needs.
http://www.bleedingcool.com/forums/showthread.php?36255-Wednesday-Comic-Reviews-Fantastic-Four-588-and-Amazing-Spider-Man-655
Though both of the issues are silent in nature, the ability for students to read and interpret these panels/pictures to tell the story elevates comic books from simply a "juvenile" medium of popular culture, to one that can have a profound impact on how students learn. For example, Marvel Comics has recently posted an "audio-edition" version of Daredevil #1, which came out in stores last month:
http://marvel.com/news/story/16485/daredevil_1_audio_edition
http://marvel.com/files/podcasts/DAREDEVIL_1_edited.mp3
"This project came about because, as we were getting to relaunch the new daredevil book with Mark Waid, Paolo Rivera and Marcos Martin, on the creative side, we got a lot of letters from actual blind Marvel Comics readers who have friends who read comics to them ever single week the books come out. So I thought it would be a cool and fun little exercise to get a few of us together here, very impromptu, and read the first issue of Daredevil." Stephen Wacker
Like any other form of written media, comics and graphic novels can be read. Comic books and graphic novels also have a unique voice and identity all their own. Just as films are be novelized, graphic novels can be read and enjoyed by all types of students."There's no difference between a novel and an illustrated novel. "Ray Bradbury. http://www.amazon.com/gp/mpd/permalink/m30TKS9VUU3JDC/ref=ent_fb_link
Comic books and Graphic Novels can have a profound impact upon students with a variety of learning disorders: Dyslexia, where comics can tell stories in picture form, writing disability, where students can refer back to pictures to interpret and refer back to topics/themes in the work, or auditory processing disorder by means of graphic audiobooks using the pictures, words and audio to guide them. These are only some of the impressive methods comic books and graphic novels impact students of any grade level with nearly any form of learning disability. Just as each student is unique, there are a variety of unique means to appeal to their special educational needs.
Friday, August 26, 2011
The Case for Comics in the Classroom
"We’re living in a moment of profoundly shifting cultural attitudes toward the comics medium. The graphic novel industry is the strongest growth sector in all of publishing, and the majority of the top 20 highest grossing films of the last 10 years were based on comic properties." Josh Elder, Executive Director Reading with Pictures. http://graphicnovelreporter.com/content/big-picture-interview
It is no coincidence that comics are quickly becoming a more prominent aspect of popular culture, but we are currently on the cutting edge of something noteworthy. Comics are applicable to a variety of classroom settings, appealing to those students that benefit from visual and tactile learning. Comics and graphic novels provide the best medium for a variety of learners. Some students cannot gain interest or meaning from texts while they are being lectured, or "talked at," in many cases. The use of comics and graphic novels manage to set a standard for all types of learners to benefit. Those students who prefer to view a story unfolding before them have the benefit of pictures to draw meaning from, those that prefer to read and gain understanding from the written word have the benefit of reading captions and inner monologues for characters to gain meaning, and those students who benefit from crafting and directly engaging in the story in an applied manner using art and written elements to create their own stories and meaning, can create their own stories to enhance their awareness of other novels, books, etc.
Comics are no longer just a "fringe medium" on the academic stage, as Maryland is at the forefront of this wonderful educational medium. The Superintendent of the School District in 2005, Nancy Grasmick, spearheaded this program in order to combat the declining reading proficiency of countless students in her district that couldn't read in a consistent manner. The project grew by leaps and bounds and is still going strong as of 2008.
http://cnettv.cnet.com/comic-books-classroom/9742-1_53-50037819.html
http://www.msde.maryland.gov/MSDE/programs/recognition-partnerships/md-comic-book
Though this is one magnificent example, a key architect of the development of Marvel Comics also believes that comics and graphic novels have their place in the educational realm. Stan Lee, former writer and Editor-in-Chief of Marvel Comics, believes that comics are no longer a "taboo" medium and have a wealth of meaning to engage readers of any age and proficiency. Stan Lee in defense of comic books:
"So many people have come up to me and said: 'how happy they are that they read these comics in their childhood' and I'm talking now about people who are now doctors, lawyers, important people, and it occurs to me that when you think about it: comics are a wonderful way to tell a story! A well done comic has good writing, beautiful illustration, and it gives people pleasure. How can you knock something like that?"
http://video.comicbookresources.com/cbrtv/2011/cbr-tv-todd-mcfarlane-interviews-stan-lee/ (5:40-15:40)
Comic books are a wonderful means to teach plot, characterization and character elements, setting, theme, and countless other literary techniques that can also be gleaned from "traditional" media forms such as novels and films. We are at the forefront of a wonderful teaching tool in schools that possesses all the benefits of appealing to visual learners, tactile learners, reading and writing learners, et. al. Comics appeal to a myriad of learning styles and should be considered as valued reading materials when building course catalogs around the students that will benefit from reading them.
It is no coincidence that comics are quickly becoming a more prominent aspect of popular culture, but we are currently on the cutting edge of something noteworthy. Comics are applicable to a variety of classroom settings, appealing to those students that benefit from visual and tactile learning. Comics and graphic novels provide the best medium for a variety of learners. Some students cannot gain interest or meaning from texts while they are being lectured, or "talked at," in many cases. The use of comics and graphic novels manage to set a standard for all types of learners to benefit. Those students who prefer to view a story unfolding before them have the benefit of pictures to draw meaning from, those that prefer to read and gain understanding from the written word have the benefit of reading captions and inner monologues for characters to gain meaning, and those students who benefit from crafting and directly engaging in the story in an applied manner using art and written elements to create their own stories and meaning, can create their own stories to enhance their awareness of other novels, books, etc.
Comics are no longer just a "fringe medium" on the academic stage, as Maryland is at the forefront of this wonderful educational medium. The Superintendent of the School District in 2005, Nancy Grasmick, spearheaded this program in order to combat the declining reading proficiency of countless students in her district that couldn't read in a consistent manner. The project grew by leaps and bounds and is still going strong as of 2008.
http://cnettv.cnet.com/comic-books-classroom/9742-1_53-50037819.html
http://www.msde.maryland.gov/MSDE/programs/recognition-partnerships/md-comic-book
Though this is one magnificent example, a key architect of the development of Marvel Comics also believes that comics and graphic novels have their place in the educational realm. Stan Lee, former writer and Editor-in-Chief of Marvel Comics, believes that comics are no longer a "taboo" medium and have a wealth of meaning to engage readers of any age and proficiency. Stan Lee in defense of comic books:
"So many people have come up to me and said: 'how happy they are that they read these comics in their childhood' and I'm talking now about people who are now doctors, lawyers, important people, and it occurs to me that when you think about it: comics are a wonderful way to tell a story! A well done comic has good writing, beautiful illustration, and it gives people pleasure. How can you knock something like that?"
http://video.comicbookresources.com/cbrtv/2011/cbr-tv-todd-mcfarlane-interviews-stan-lee/ (5:40-15:40)
Comic books are a wonderful means to teach plot, characterization and character elements, setting, theme, and countless other literary techniques that can also be gleaned from "traditional" media forms such as novels and films. We are at the forefront of a wonderful teaching tool in schools that possesses all the benefits of appealing to visual learners, tactile learners, reading and writing learners, et. al. Comics appeal to a myriad of learning styles and should be considered as valued reading materials when building course catalogs around the students that will benefit from reading them.
Wednesday, August 24, 2011
A Very Good Place to Start
This blog is simply to catalog my research for my Philosophy of Education Academic Writing Assignment during my independent study, but this also is a place to share my thoughts with any and all that want to listen about the wonderful world of comic books and graphic novels in an educational setting, or for their own merits as well.
For my first post, I'll be linking to my Public Diigo Page in order to show the work that's already been started on the unique topic of exploring academic and philosophical merits of using this unique medium to affect change in how educational materials are selected and used in the secondary educational realm and beyond.
Listed is my public diigo page: http://www.diigo.com/user/jjjett2
Also listed below is my list of 10 Great Graphic Novels for those that are not well-versed in this incredible medium:
10) Chew-Layman, John and Guillory, Rob.This quirky series should be more gruesome and violent than it actually is. This unique and odd work is simply about a detective that gets psychic impressions from the food he eats. It is also a very, very funny book as we see the impressions our protagonist Tony Chew receives. Some foods, like oranges and bananas take him to tropical paradises in his mind, whereas eating a burger can produce rather unsettling impressions to say the least. The book is odd, quirky and unique. This book is also part of ALA's 2010/2011 great graphic novels for teens.http://www.comicbookresources.com/?page=article&id=23711
9) Maus- Spiegelman, Art. This compelling graphic novel retells the tortuous journey of Art's father's journey through WWII and torture of enduring the Nazi death camps. This book doesn't pull any punches in it's intensity or detail of the horrors of the human cost of WWII. The unique aspect of this novel though is the wrinkle where Jews are portrayed as mice and Nazi soldiers as cats. The predator/prey relationship is just one element of this incredible work of art. It is no coincidence that this book won a Pulitzer Prize in 1992.
8) Batman: The Long Halloween, Loeb, Jeph, and Sale, Tim. Probably one of the most interesting and compelling Batman stories ever told, The Long Halloween follows the journey of Batman as he tries to solve the mystery of a serial killer that only strikes on the holidays of the year from one Halloween to the next. This story takes so many twists and turns that it is impossible to know which direction the narrative will move until the final pages close. The homages to The Godfather trilogy of novels doesn't hurt the credentials of this remarkable work. I've read this book cover to cover in one siting, marveling at the intricate plot and criminal mystery that just happens to be a "Batman Story."
7) American Vampire, Snyder, and Scott, Albuquerque. If you like your stories with a little horror and historical fiction, this is the one for you. This incredible series was benefited by the legendary Stephen King in the first 5 issues to establish the tone of the work and evolve the cast of characters that Snyder crafted. Snyder had the characters in his head developing for a novel that never developed, until he happened upon the comic book form. The author won acclaim for his short story collection Voodoo Heart in 2006 and has quickly become one of the most successful recent comic book writers. This story chronicles the first "American Vampire" Skinner Sweet as the American West develops out of the gold rush, into the early Las Vegas years in Nevada, until America is thrust into WWII with our protagonists at the forefront. This book shows the dark underbelly of American development, and just happens to be an incredible work of horror fiction. http://www.comicbookresources.com/?page=article&id=33674
6) Mouse Guard, Peterson, David. This fun, though dark story, is great for both children and adults. The younger readers will appreciate the world that may exist out there in the real world where mice fight snakes and birds to survive out in the harsh world climate, though adults can also appreciate the gritty and dark undertones that this series provides. Each character follows character troupes of brash and brawn, reserved and calculating and the natural leader. The enjoyment comes in observing these traits and appreciating the banter and bickering between the characters on their journey. The ability to for a variety of readers to appreciate this work of art is compelling to say the least. Mouse Guard is a very unique book that manages to maintain a high standard of quality month-in and month-out. This series has also been optioned as a movie to be developed and produced by the author.
5) Spider-man Blue, Loeb, Jeph, and Sale, Tim. This tragic tale recounts one of the most noteworthy storylines in all of comic book history, but also functions as a tale of loves lost and the complexity of life when things spiral out of control. This story is recounted on Valentine's Day and is a heartbreaking retelling of Peter Parker's first love Gwen Stacy's horrific and untimely demise. This novel is also interesting/noteworthy for the fact that the color palate used is primarily based upon muted and dark colors, blue being the main element in nearly all the colors throughout the book. This novel is also the brainchild of the creative team behind The Long Halloween. It is a somber read at times, but also an uplifting tale of loves remembered.
4) Fables, Willingham, Bill, and Buckingham, Mark. What if Snow White, Little Red Riding Hood and The Seven Dwarves were released into the real world and they happened to find themselves in New York City? That's what this interesting book does and it takes the children's fables that many of us have come to know and spins it in a unique and interesting way. Another great element to this series is that the characters all feel accurate to their portrayals in the countless children's fables many have grown up with. The how's and why's of this happening unravel slowly leading to an incredible reveal of the villain pulling the strings behind the journey into the real world. This series is great for those that look for a retelling and reinterpretation of stories many of us have grown up with in our formative years. http://io9.com/5812346/making-fairy-tales-realistic-with-fables-creator-bill-willingham
3) Blankets, Thompson, Craig. This groundbreaking nonfiction autobiography explores the author's journey from childhood into his early adulthood in painstakingly real detail. The author doesn't sugarcoat the difficulties and complexities of growing up, but uses the comic book medium to it's full potential. The art depicting the childhood years of Craig's life are very abstract and strange, much like a little boy's imagination, but with elements of the real world sprinkled in. The difficulties of growing up in a community and family that doesn't understand or support you is a key element to the complexity and realism of this novel. Craig cannot "fit-in" to his fundamentalist Christian family that doesn't understand why he questions his lot in life when he finds his first love. Like many first loves, things end rather painfully, but the journey of this man's life in unflinching detail is very compelling. You feel as if you're on the journey with Craig over the course of his early life.
2) Y: The Last Man, Vaughn, Brian K. What if a plague killed every living creature on earth that possessed a Y chromosome? What if society were to crumble when the male species failed to exist aside from one man and his ape companion that somehow survive? This story manages to take something as vast and complex as society crumbling, and themes of survivor's guilt and self-destruction as the world falls apart, but always makes it feel horribly real and compelling. Vaughn manages to create a story that is heavily grounded in reality, but still manages to inspire thought into what one would do if they were a survivor. The protagonist initially thinks this is a wonderful thing to happen to him as he can have any woman he wants (!) and can do anything he wants(!) until the reality of the complete eradication of a gender becomes apparent. This story remains engrossing until the very last page is turned and all is revealed: The Plague, the reasons for our protagonist's journey, and the sliver of hope that remains of things getting better as society rebuilds and comes to terms with the incredible worldwide loss. This story is firmly grounded in reality, and makes for a stronger read than many novels fail to capture.
1) All Star Superman, Morrison, Grant, Quitely, Frank. What do you get when you have some of the biggest names in the comic book world combined to tell one of the greatest stories of the 21st century? All Star Superman. The series is told over 12 individual issues that add up to a greater narrative that gets to the cores of Superman, but also the character troupes of idealism, strength, love and compassion. This story gets to the heart of what makes great heroes great in any form of written media, but this story utilizes the best elements of the comic book medium which makes for a timeless and classic read. Grant Morrison has been called both the most influential and destructive forces in comic books as he manages to shake characters to their very core, to then take those central elements and spin them in a unique and engaging way. This story manages to tell a story of a man that thinks he is indestructible, but quickly finds out how wonderful life is when it is winding down to it's final days. You will never read a Supeman story quite like this one, and you will never read a novel quite like this one either.
That would be all 10 of my picks! Stay tuned for more information on my thesis' development, and the diigo page's growth as well. This is the start of something incredible and I hope you're along for the ride.
J.
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