The Silver Surfer narrative, while distinctly unique in its structure, depicts the Silver Surfer as an epic hero and, in doing so, also fits the more specific format of the literary epic. At times, the comic book series has the characteristics of both an allegorical tale and a morally edifying plot progression. The origin-story of the Silver Surfer expresses a distinct hierarchy of ethical values (Gabilliet 207), and lays the framework for the Surfer’s existence, placing him in a position to give direct social commentary on the human race. This social commentary not only encompasses the personal opinions of the series' creator, but also the greater moral compass of American culture as a whole.
The Silver Surfer, once known as 'Norrin Radd', originates on the planet 'Zenn-La', an idyllic, almost heavenly place, where advanced technology had eliminated all worldly frustrations and controversy. This idyllic setting was disturbed only by the appearance of an interstellar, near-godly entity known as 'Galactus' which planned to consume all of Zenn-La as sustenance. Norrin Radd struck a deal with Galactus, sacrificing contact with his lover, his civilization, his home-world and his entire life on Zenn-La in order to guarantee the future safety of his planet (Lavin). In return, Galactus granted Radd the 'power cosmic’, thus enabling Radd to shape and bend space-time around himself in order to do Galactus’ will for the rest of time, acting as Galactus’ ‘herald’ (Comtois).
Out of hunger, Galactus eventually targets Earth for consumption; consequently the Silver Surfer is then required to prepare the planet for destruction. Eventually, based on the innocent pleas of a blind woman who seeks to bargain for the planet and the heroism of t...
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Marz, Ron, et al. "Conflicting Emotions." The Silver Surfer 3.66 (June 1992). Print.
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Misiroglu, Gina, and David A. Roach, eds. The Superhero Book: The Ultimate Encyclopedia of Comic-Book Icons and Hollywood Heroes. Detroit: Visible Ink Press, 2004. Print.
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In addition to, revolutionizing characters, Stan Lee made many of his comic books intricate and interesting compared to simple boring comic books in the past. His intricate comics had to do with his...
The mythology of Superman is a paradigm that embodies the cultural reality of the era; constructed around an archetype of ideology, fantasies of human spiritual ambiguity, a religious messiah, and a semiotic representation of modernity. In further study, Superman can be identified to have specifically changed to adhere to American culture in three distinctive periods; midst the Great Depression and WWII, post WWII and finally the socially progressive change of the Vietnam period. In each chapter Superman was re-imagined to meet the definition of the period, a tool of propaganda over that of entertainment. Currently, America is entering a new phase of cultural shift, and thus Superman will be redefined to represent the ideologies of truth, justice, and the American way of that required era. Yet, the mere surface mythology of Superman has applications to cultural ideologies, questions of human freedom, dreams in a Freudian nature, and the complex relation of fantasy and reality which required introduction before in-depth research.
Grossman, Lev. "The Problem with Superman." TIME Magazine. Www.time.com, 10 May 2004. Web. 3 Mar. 2014. .
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Hughes, Jamie A. "Who Watches the Watchmen?: Ideology and 'Real World' Superheroes." Journal of Popular Culture39.4 (2006): 546-557. SPORTDiscus with Full Text. EBSCO. Web. 25 Feb. 2010
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Klock, Geoff. "The Bat and the Watchmen: Introducing the Revisionary Superhero Narrative." How to read superhero comics and why. New York: Continuum, 2002. 25-26. Print.
Back in the days of the Odyssey and The Iliad, heroes were classified by their accomplishments. From Odysseus to Achilles, all of the men who were idolized as heroes were so idolized because of their world-altering deeds and conquests, unfathomable wealth, and achievements that would forever be remembered in history. But today, in a world pillaged by war, poverty, controversy, drugs, disease, and economic blunders, who truly deserves to be called a hero? No longer are there titans on the earth, bloodthirsty men with chain mail armor, lances and swords, leading enormous armies into battle. And yet, though circumstances have changed, people haven’t, and the need for heroes, for role models and beings of unfathomable perfection, has not dissipated from society even as the ancient hero has. In America today, the concept of a hero is much different. People in the ancient world were idolized because of inconceivable strength, wealth, or intelligence, however the people that modern Americans admire and model themselves after poses qualities such as selflessness, bravery, and determination that make them true role models.
Beowulf. Holt elements of literature. Ed G Kylene Beers and Lee Odeel. 6th ed. Austin: Holt, Rinehart, and Winston, 2008. 21-48. Print.
The purpose of this paper is to provide the reader with an insight into the Super Hero Series Batman. This crime fighter originally appeared in Detective Comics issue #27 in 1939. It later became a comic book series, a TV series and a movie series. The character Batman is second only to Superman as a Super Hero. Amazingly Batman has no super powers, but he does have a lot of neat crime fighting gadgets. In this paper, we will explore the creation of Batman, his supporting cast of characters both good and bad and the gadgets he used.
...ort the same element that this graphic novel supports. These people rushing to the aid of the woman (Moore and Gibbons XI, 25, panel 7) suggest that a true hero is not always in a costume, and does not always cover his/her face, however heroes are ordinary citizens that put their own issues aside just to help others.
I fully accept that I am a geek when it comes to the Marvel superhero comics. I could not help but note that after watching Captain America, my favorite from the Avenger’s series, I noticed Chris Evans capitalized on the classic iconic American Hero. Typically when we hear superhero we think of a man that begins with Bat, Spider or Super. Yet none of these men fully embody the American icon of comic heroism. While using a narrative paradigm and Bourke I will examine our icon in comparison to a Norwegian Viking through a postmodern lens. Comparing these two icons may seem as an odd comparison, however their similarity might shed light into who the American hero really is.
Batman, Superman, and Ironman are prominent superheroes in the media who are primarily admired by innocent boy and girls. These fictional characters fight injustice with bravery and selflessness, providing a false image of real heroes to children. How many of these idolized figures are still thought of in the same way after 10 or 15 years? While these fake perceptions of heroes sustain an income for our entertainment industry, everyone should be praising those who truly sacrificed for the benefit of the community. The real heroes are often neglected as we obsess over these imaginary characters. Although the media often recognizes a hero as a flamboyantly dressed man in some suit with a logo, the true heroes are the altruistic and motivational people who overcome personal desires, accept the challenge, and dedicate their life for the welfare of others by overcoming the difficulties of the challenge.