Superheroes postsThursday October 14, 2010
5 Things The Atlantic Gets Wrong in Their Post “5 Ways to Revive the 'Superman' Franchise”
Read their article here.
- “Superman is a part of our culture. But the America he protects in 2010 is a far cry from the one he protected in 1932.” Or 1938, the year he was created.
- “Snyder should follow the examples of Batman Begins and Iron Man: find a young, charismatic lead for your hero, and pad the rest of the cast with respected veteran character actors.” Did writer Scott Meslow mean young OR charismatic? Downey, Jr., brimming with charisma, was in his early 40s when Iron Man began, while Christian Bale, in his early 30s with Batman Begins, is hardly Mr. Charisma. And even early 30s isn't exactly young.
- “Keep the John Williams theme song.” Even in 1978, this thing seemed too “Star Wars” to me.
- “Speed through the origin story” and “Do everything Chris Nolan says”: Don't these contradict each other? Meslow writes, “Nolan masterfully revived the Batman franchise with Batman Begins”... in which he didn't speed through the origin story. It took more than an hour before we even saw Batman as Batman. Compare with Tim Burton's “Batman” (1989) in which we saw Batman as Batman in the first three minutes.
- Suggestions 1-5: These thoughts are either obvious (cast, Nolan) or wrong (speed the origin) or, as above, contradictory. And none get to the heart of the Superman dilemma: We're interested in him because he's all-powerful but being all-powerful is dramatically uninteresting. So we need to either push toward or pull away from his power: weaken him to create a feasible drama, or keep him as is and make his all-powerfulness the drama. I'm inclined toward the latter.
And Now...The Wolverine!
I wasn’t impressed. I had a weak boy’s respect for the Hulk as the strongest character in the Marvel universe — Thor Schmor — and this guy in yellow spandex with the whiskers hardly seemed in the same league. And he was Canadian? That was the point of Wolverine, initially. On the cover of #181, Marvel didn’t trumpet him as a badass. They wrote: “HE’S HERE! THE WORLD’S FIRST AND GREATEST CANADIAN SUPER HERO!” It’s been a while since I collected comics, and more than 25 years since I looked at that cover, but it strikes me now that the introduction of a “first” kind of makes the secondary claim of being “greatest” rather pointless, doesn’t it? Almost patronizing.
A few years later, a friend started talking up X-Men, which for my entire collecting history had been nothing but lame, smeary reprints. Now they had all new stories but I wasn’t biting:
EL: I’m not into those characters.Turns out Wolverine was the most popular new character. He was the brooding badass — the guy who was such an outcast he didn’t fit in among a group of outcasts. Now that I think about it — again — there’s a Ben Grimm vibe there, isn’t there? The cigar-chomping dude who didn’t want to be part of the super group but never let his partners down. Wouldn’t be surprised if this wasn’t intentional.
PL: No, they’re all new characters.
EL: Like who?
PL: Well, they still have Cyclops and Professor X...
EL: Professor X? I just don’t get him.
PL: ...plus a bunch of new guys like Nightcrawler and Colossus. Oh, and Wolverine!
Me: The Canadian? You’re kidding. How is that dude even a mutant?
I collected the new X-Men for a few years then stopped collecting comics altogether around 1979, but I’ve obviously warmed to the character in his Hollywood incarnation. He was in two of the top 10 superhero scenes I wrote about in 2007 and among the top 5 superhero casting decisions written about last year — although his (or Hugh Jackman’s) no. 3 spot might now be taken by Robert Downey, Jr. At the same time I don’t love Wolverine nearly as much as others do. To some, he’s the greatest comic book character ever created.
I’ll post a review of the film tomorrow — the buzz, thus far, isn’t good — but I wanted to add this thought: As much time has passed between now and the introduction of Wolverine (35 years) as between the introduction of Wolverine and the introduction of.... Superman (36 years). Seems impossible. Makes you wonder where the time has gone.
On Meeting Stan Lee in 1975 — or — Another Practically Priceless Blog Entry in the Mighty Marvel Manner
A belated shout-out to Marvel Comics Everything Stan Lee who was awarded the National Medal of Arts and the National Humanities Medal at the White House a few days ago.
I met the man once, back in the mid-1970s, when he was promoting Sons of Origins of Marvel Comics, and my father, a journalist for the Minneapolis Tribune, interviewed him for what was then called the “Variety” section of the paper. The interview took place at a fancy restaurant in downtown Minneapolis and my brother and I were allowed to leave class early (I was 12) to attend the back-end of it.
I think I was disappointed when I first saw him. He wore dark glasses in a dark restaurant and he had a moustache and a loud and brash manner. He seemed like a villain on a cop show. Not sure what I thought he'd look like. Reed Richards? Peter Parker? Me?
But he turned out to be about the nicest famous person I've ever met. First, he let us sit in on the interview. Then when the interview was over, he didn’t turn off. I don’t know if he had an “off.” He invited my brother and I over and brought us out. He drew a cartoonish Captain America holding a banner up to his nose —like Kilroy — and on the banner he wrote: “To Chris and Erik. Excelsior! Stan & Cap.” Below it he added, in that great mix of irony and braggadaccio he had: “Another practically priceless Stan Lee original!” He signed our books. He gave us nicknames in the Mighty Marvel Manner. “To Charismatic Chris,” he wrote in Chris’ Sons of Origins of Marvel Comics. “To Erudite Erik” he wrote in my copy of The Origins of Marvel Comics. The first thing I did when I got home was look up “Erudite” in the dictionary.
I stopped collecting comics in the late '70s and I don't know what happened to my autographed Origins of Marvel Comics, but I still have the Cap drawing.
My father's article on Stan Lee, by the way, wound up on the back page of the “Variety” section, where they put the unimportant stuff. That's how comics were viewed back then. Now, though actual sales are way down, the presence of comic books is everywhere. As you know.
Who's your superhero?
Another 5Top piece on MSNBC — this one on the most inspired superhero casting. It was designed to coincide with the opening of IRON MAN because I was thinking of putting Robert Downey, Jr. on the list, but the studio didn't make the film available before the piece was due. The screening is tonight (and anyway I've got French), and the piece was due yesterday, and I didn't want to hold it up on the off-chance that I liked Downey and IRON MAN enough to include it.
No supervillains. That's a whole other category and would include Gene Hackman and Ian McKellan and Alfred Molina and probably, eventually, Heath Ledger. Off the top of my head.
Captain America and the short end of the stick
Yesterday the New York Times ran this piece on Joe Simon, who, with Jack Kirby, created Captain America in December 1940. Simon is now 94 and part of a panel at this weekend’s New York Comic Con that he calls “The old geezer table.”
It’s a newspaper piece, and thus skimps, but it brings up a key issue not only for comic creators but for artists in general: the inability to profit from your own hugely successful creation. Simon, who got squat for creating the good Captain, puts it this way: “People in comic books have a very sad history in dealing with their creative people.” Todd McFarlane, reinventor of Spider-Man in the 1990s, and creator of Spawn, says this: “I read the stories of Jack Kirby. I read the stories of all those guys in the ’40s, ’50s and even the ’60s. I kept coming across this repetitive story: the creative guy got the short end of the stick.”
The great cautionary tale, of course, belongs to Jerry Siegel and Joe Schuster, the two Cleveland boys who jumpstarted an entire industry with Superman in 1938, and who, for their trouble, got $116 from Detective Comics (and, after decades of lawsuits, an annual stipend from Warner Bros.). Their story, along with many others, is told — extremely well, I should add — in Men of Tomorrow: Geeks, Gangsters and the Birth of the Comic Book by Gerard Jones. Check it out.