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.
Monday, September 12, 2011
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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