Perceptions of the superhero and supervillain are mainly based on subjective definitions of each concept. These observations often lead to a definitive dichotomy that precisely splits characters into two impermeable divisions. However, this stringent separation is unable to account for the characters that are not at the extreme ends of their respective side. Neither is this rift capable of classifying characters that flirt with both sides of the superhero-supervillain dichotomy. Therefore it is imperative to analyze the established criteria for both superhero and supervillain to derive a more adequate explanation. Most superheroes are not easily characterized, but rather fall somewhere between Superman, the bastion of moral purity, and Doctor Doom, the display of indubitable corruption. This solicits genesis of an entirely new notion about the differences between superheroes and supervillains. A more precise idea is that superheroes and supervillains are lined on a spectrum that spans from pure good to pure evil. Disparities between superheroes and supervillains are not black and white, but rather these characters are on a spectrum that radically changes based on individual cases. Captain Hammer and Doctor Horrible from Doctor Horrible’s Sing Along Blog are intriguing cases because of their inherent qualities. The character of Captain Hammer is quite easily identifiable as the superhero of the story. He is shown saving people by stopping Doctor Horrible from stealing a van that contained a special power core (Whedon). Through physical characteristics such as his costume and his strong physique, Captain Hammer matches the physical criteria of the role superhero. Also, through his reputation and influence, Captain Hammer repurposes... ... middle of paper ... ...2009. Web. 14 Feb. 2014. . Doctor Horrible's Sing Along Blog. By Joss Whedon and Maurissa Tancharoen. Perf. Neil Patrick Harris, Nathan Fillion, and Felicia Day. Hulu, 2008. Online. Grossman, Lev. "The Problem with Superman." TIME Magazine. Www.time.com, 10 May 2004. Web. 3 Mar. 2014. . Injustice: Gods Among Us. Play Station 4 Version. Warner Bros. Interactive Entertainment. 2013. Video Game. Layton, Bob and Michelinie, David [w] and Ron Lim [p]. Iron Man: Legacy of Doom. I. New York: Marvel Publishing. 2008. Print. Marvel’s Ultimate Alliance 2. Play Station 3 Version. Vicarious Visions, Savage Entertainment. Activision. 2009. Video Game. Millar, Mark [w], Johnson, Dave and Plunkett, Kilian [p]. Superman: Red Son. California: DC Comics. 2003. Print
It’s a bird! It’s a plane! It’s Superman! In 1938, Action Comics #1, released the first Superman comic to the public. Superman, also known as Kal El, has shown many different powers since his first debut in 1938. This paper will discuss various topics about four of his major powers and explain why they are all impossible for anyone to achieve in real life. Superman’s four major powers that will be discussed in this paper are X-ray vision, being able to fly, super strength, and invulnerability.
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.
This TV show continues some of the most popular movies in theatres such as those about “Thor”, “Captain America”, “The Incredible Hulk”, and “Iron Man” . These movies are about superheroes. Everyone knows and likes these movies.
Alexie, Sherman. "Superman and Me." Los Angeles Times. Los Angeles Times, 19 Apr. 1998. Web. 14 May 2014. http://articles.latimes.com/1998/apr/19/books/bk-42979
The Superman epic has gone on for years and years; yet the story line has always remained the same:
Look, Up in the Sky: The Amazing Story of Superman. Dir. Kevin Burns. Warner Home Video,
Through the stereotypes, it is examined how different characters have saved themselves from being a part of the stereotype or have become a victim to the stereotype. The essay explores the examples of both Americanized and those who maintain the culture publicly, as well as changes in comic book characters after traumatic events in American History, such as World War II and 9/11.
The trickster archetype has existed within folklore for generations as an entity of immense knowledge, cunning, and chaos, while usually challenging social norms in the name of progress or learning. When this paradigm is applied to the world of comic book villains, it is apparent that the trickster of folklore is the primary model for creating compelling, convincing rogues who challenge and hone their counterparts into better heroes. An examination of the world’s most popular comic book superheroes, such as Batman, Spider-man, and The Flash, reveals that perhaps the most vital aspect to their success rests with a rich and diverse “rogues gallery” of villains. Generally, these rogues’ galleries are populated with a number of tropes lifted directly
In the 1930’s emerged a new form of entertainment. The comic universe was one which combined strong storylines with dynamic graphics. The social context and style within which they were constructed was such that superheroes emphasized classic American values. These values of chivalry, strength and leadership were regarded as concepts that created a sense of solidarity and national sentiment among readers, all belonging primarily to America. These heroes were advocates not just for these American ideals; they were also seen as those intended to safeguard it. They were considered a metaphor for the “ideal American”. This nationalistic sentiment was originally what made superheroes popular, but as their popularity increased, publishers, fuelled
Sometimes, things just don’t work out right. (2) That's how the creators of Superman felt for a long time. (3) Superman’s first home wasn’t the planet Krypton, but Cleveland. (4) There, in 1933. Superman was born. (5) Jerry Siegel’s story, "Reign of Superman, accompanied by Joe Shuster's illustrations, appeared in the boy’s own magazine, Science Fiction. (6) Later, the teenagers continued to develop their idea. (7) Superman would come to Earth from a distant planet to defend freedom and justice for ordinary people. (8) He would conceal his identity by living as an ordinary person himself. (9) Siegel and Shuster hoped their character’s strength and morality would boost people’s spirits during the Great Depression.
Justin Martin is a respected author who believes that superheroes teach their viewers good morality, and to stand up to evil. Martin said “In a study that involved kindergarten children drawing heroes and heroines, it suggested that they learned moral values from the superheroes they watched on television” (Martin 1). This goes in line with the vast majority of people. He also feels superheroes play a major role in childhood education. He feels that people are naturally
...ation of these features results in the genesis of a supervillain of the nature of Doctor Doom. In Iron Man: Legacy of Doom, Victor von Doom demonstrates the criteria defined for a supervillain. Throughout the comic book and by description of expert analysis, Doctor Doom fuses the standards of super villainy to achieve his motives and defeat his foes. By employing sorcery and intelligently crafted technology, Doom is able to accomplish the goals that satiate his warped worldview. Doctor Doom is characteristic of the notion of a supervillain due to his perceptions, powers, and personality.
Throughout the history of the world, authors relate the stories of numerous different characters, including heroes and villains. Everyday people, such as fathers, neighbors, and firemen can be considered heroes. However, when many people think of a hero, they picture Superman or some other superhuman with other-worldly powers or qualities. Many different views exist on what constitutes a hero, and authors, throughout the years, have depicted the various types of a hero. Each of these types possess its own group of characteristics and go through its own set of situations. Specific situations that these characters go through determine what type of hero they qualify as. A hero may possess characteristics or undergo specific situations that qualify
In a secular, scientific rational culture lacking in any convincing spiritual leadership, superhero stories speak loudly and boldly to our greatest fears, deepest longings, and highest aspirations. They’re not afraid to be hopeful, not embarrassed to be optimistic, and utterly fearless in the dark. They’re about as far from social realism as you can get, but the best superhero stories deal directly with mythic elements of human experience that we can all relate to, in ways that are imaginative, profound, funny, and provocative. They exist to solve problems of all kinds and can always be counted on to find a way to save the day. At their best, they help us to confront and resolve even the deepest existential crises. “
“Captain America Profile” Superhero Stuff. Superhero Stuff, 2014. Web. Retrieved on February 11, 2014 from http://www.superherostuff.com/biographies/captainamericabiography.html