All Star Superman #6
© DC
Ascending into the Iconic: Separating Fiction From Legend
By: Kurt AmackerDate: Thursday, January 04, 2007
Greetings, Maniacs. Welcome to another week of comic shopping on Thursday. I hope you didn’t break down sobbing at the counter yesterday afternoon when you tried to pick up your books. I remember one Internet journalist describing the frustration of holiday weekends, after which UPS delivers the comics on Thursday instead of Wednesday. If I could remember his name, I’d credit him. But, you know how it goes – you enter the comic shop with a bounce in your step and a credit card fresh for the swiping. Then, the guy behind the counter breaks your heart when he reminds you that Monday was Arbor Day and the books won’t ship until tomorrow. You take a cursory shuffle around the store. You stare at the racks, hoping that the new books will appear if you glare at them long enough. Then, you walk out and return to watching the Sci-Fi Channel, leering at J. Scott Campbell illustrations, and sobbing as shove sticks of butter into your mouth. Don’t worry – it happens to us all.
Anyway, I had an interview scheduled this week with Mark Kidwell, writer of Image’s new zombie one-shot, ’68. But, technical difficulties and New Year’s Day kept a review copy out of my hands. Mark and I agreed that I should read it first so I could ask him the kind of pointed, nitpicky questions that only a liberal arts major can. Thus, our interview happens next week. This week, I’ve treated you all to one of my airy cultural explorations about our childhood experiences with superheroes and the path of character elevation from simple narrative into folklore. Then, down in the listings, Al and I make fun of the weak and offend everyone on Earth. It takes all types here at Mania.
Most of the comic heroes that have survived the various booms and busts of the past hundred or so years have ascended to a sort of iconic place in our cultural understanding. Most kids can tell you about Spider-Man, even if they lack all the particulars and can’t differentiate between Mary Jane and Gwen Stacy. Most people on this planet know about Superman, even if they don’t know the difference between Earth 2 Superman, post-Crisis Superman, or reality-altering-punches Superboy (with 22 points of articulation!). In a weird way, we’ve developed collective, understood notions of these characters – notions born of years of comics by different creative teams; television and movies; and a thousand imagined super-villain fights on the playground. The current state of these characters in continuity pales before the awesome mental images we summon at the mention of the name “Whatever-Man.”
And yet, no one can really nail down the “truth” of a comic book hero anymore than one can define Hercules or Snow White in all their permutations, let alone any character from folklore or mythology. Consider Star Wars – when A New Hope came out, the world saw a single film written and directed by George Lucas. That single film stood as the canonical work of the Star Wars Universe. Since 1977, multiple films, television series, comic books, novels, toys, and Christmas specials have developed and expanded upon a comparably simple understanding. Other creators have since added their visions, we’ve seen the movie several times, and talked about it ad nauseam. Our understanding and appreciation has grown. Virtually anyone knows the expression “May the Force be with you.” I could probably quote a couple of lines from Bladerunner, and a fraction of people would get it compared to those that remember “These aren’t the droids you’re looking for.” Similarly, our most iconic superheroes have ascended past a simple awareness of the character into something grander akin to modern mythology. Superman, Batman, Spider-Man, Captain America, and the like have graduated from characters out of fiction into something resonant that makes up part of our cultural landscape.
To try to understand this process forces one into a series of ethereal, unscientific analyses that belong in a liberal arts journal. Still, I’ll try to break it down for everyone, including myself. I think we all agree that something differentiates a character that forms an intrinsic part of our cultural landscape versus one we merely enjoy in a given piece of fiction. I love Hellboy, but he fails to strike me in the same way as Batman. Even the idea of Batman outpaces almost any given issue of the series. Despite its unquestionable greatness, The Dark Knight Returns will never, in and of itself, mean as much to me as verythe idea of Batman – that icon that springs to mind when I hear his name, the childhood memories of watching the Tim Burton film repeatedly, and the experience of rediscovering the character as a young adult. Everybody knows about Batman. And yet, I can name several comics as good as or better than the best Batman stories – ones that feature characters far less famous or resonate. I wonder, then, what differentiates those characters.
First, let’s consider age. The most resonant, iconic characters that people associate with the very medium of comics originate anywhere from 40 to 70 years ago, give or take a few years. I don’t how any new character becomes – he will likely never replace Superman as the image that springs to mind when someone says “superhero.” And, Marvel and DC know good and damn well that that association and that nostalgia sell books. We all realize it and, by and large, we consent to it. I’ve written editorials about the importance of creating new characters and moving past the old stand-bys, but damn it, I still buy Detective Comics every month. A huge number of adult comic readers want to reclaim that childhood thrill of reading the first issue of Amazing Spider-Man that really hooked them. This week, I have no intention of arguing against that. I only want to explore the cause.
Second, think about those characters’ place in the evolution of the medium: most of the best-loved DC characters first appeared in the late 1930s and early ‘40s. Comic books appeared well before then, but those characters effectively created the association between the medium and heroes in the public consciousness. Even though Timely published Captain America and Namor in the 1930s, Marvel effectively cemented its place in the superhero cannon in the early 1960s. Stan Lee and Jack Kirby created the Fantastic Four in response to the success of DC’s Justice League of America in The Brave and the Bold. Marvel’s down-to-earth, humanistic portrayal of superheroes augmented DC near-mythic pantheon with the imperfect, tormented vision of these characters we all love so well. DC and Marvel both initiated new eras in comic publishing, respectively, when they established their stand-by characters – the icons to which I keep referring.
Third, those characters that ascend from mere fiction into legend usually scratch a deep-seated cultural itch we have as Americans and as human beings. From the idea of a larger-than-life savior in Superman to the triumphant underdog in Spider-Man, these heroes strike certain chords that fables, mythology, and religion have touched on since the dawn of time. While no one believes in Superman in the way they do Jesus Christ, the appeal rings similarly enough – supernatural savior that looks human comes to Earth to fight evil and save us. One uses his fists, while the other uses his spirit. And, everyone has felt as out-of-place as Peter Parker. We’ve all dreamed of getting the girl, winning the day, and smashing the bully’s head into a locker. We don’t just like these characters because they’re super-cool.
Still, nailing down which particular characters have passed into legend creates a challenge. I doubt anyone disagrees that certain superheroes deserve the distinction – the ones I’ve named here, along with a few other obvious choices. But really, naming anyone past those choices presents all kinds of problems. No doubt, some guy out there has a room full of Spawn toys and can discuss the theological implications of the series and its cultural impact all day. He might argue that Spawn deserves the same distinction as Superman. I wouldn’t agree in the least, but he can argue it. We all agree that certain characters form part of our cultural fabric and understanding of comics. But, we can spend forever discussing which ones. So, until Superboy’s reality-altering punches eliminate our conversation from continuity entirely, I leave that choice to you. If you want to send me your thoughts on the subject, e-mail me at comicscape@mania.com or kurtamacker@yahoo.com. If I get enough mail, I’ll run your letters the week after I interview Mark Kidwell.
The Spinner Rack
By Al Brown and Kurt Amacker
Al: My apologies for last week. I was four years late in realizing that The Wire is the best TV show ever made, so I had to spend literally all of last week watching 50 hours straight of it. I'm a little dazed now, and I don't like looking at white people any more. But hey, on with the comics! This week: oodles of Civil War, another All-Star Superman and the occasional scalping.
Warning: Diamond shipping lists were late to be published this week, which means that what you read below may not be 100% accurate. Yeah, I know, I hate it when they're late too.
Kurt: Remember when I said we’d insult everyone on Earth? You all dress badly – every last one of you, including nudists.
DARK HORSE COMICS
Perhapanauts Second Chances #3 (of 4) $2.99
Kurt: Strangely enough, this seems to be the only Dark Horse book shipping this week. Hi-ho the merry-o, the cheese stands alone.
DC COMICS
52 Week #35 $2.50
All New Atom #7 $2.99
All Star Superman #6 $2.99
Al: The fifth dimensional trickster strikes!
Kurt: This book really makes me feel like a kid again. Yes, I’m serious.
American Virgin #10 (MR) $2.99
Al: Ha ha, it's ten months later and you still haven't gotten laid. You suck.
Kurt: He’ll come around. I’m surprised this series hasn’t been thrown on the fire next to Harry Potter at book burnings.
Batman And The Monster Men TP $14.99
Al: Great series, as Kurt and I have said ad infinitum.
Kurt: Yes, we do love the Matt Wagner.
Crisis Aftermath The Battle For Bludhaven TP $12.99
Densha Otoko Vol 2 $9.99
Exterminators #13 (MR) $2.99
From Eroica With Love Vol 8 $9.99
JLA Classified #31 $2.99
Jonah Hex #15 $2.99
JSA Vol 12 Ghost Stories TP $14.99
Justice League Unlimited #29 $2.25
Looney Tunes #146 $2.25
Manhunter #27 $2.99
Manhunter Vol 2 Trial By Fire TP $17.99
Midnighter #3 $2.99
Al: Darn, killing Hitler isn't going exactly as planned. Who woulda thought?
Kurt: It’s that distracting Charlie Chaplin moustache of his. Who can take their eyes off of it?
Midnighter Var Edition #3 $2.99
Nightmare On Elm Street #4 (MR) $2.99
Al: Exploring what Freddy Krueger himself dreams about. My guess: pretty unicorns.
Kurt: He dreams the stuff that Trapper-Keepers are made of.
Nightwing #128 $2.99
Other Side #4 (of 5) (MR) $2.99
Outsiders The Good Fight TP $14.99
Scalped #1 (MR) $2.99
Al: Exactly the same as going bald, but quicker. Like ripping off a bandaid. Highly recommended.
Kurt: It’s kind of like waxing, except more thorough.
Showcase Presents Justice League Of America Vol 2 TP $16.99
Superman #658 $2.99
Superman Confidential #3 $2.99
Tenjho Tenge Vol 11 $9.99
IMAGE COMICS
68 (one Shot) (MR) $3.99
Al: In your face, DC! You think you're so tough with your 52 crap. Well, this one goes to 68! All at once!
Kurt: And, it’s got zombies – George-freakin’-Romero-goddamn zombies.
A Distant Soil #38 (RES) $4.50
Ant #9 $2.99
Cryptics #2 $3.50
Kurt: Steve Niles brings the monsters back to the playground. The first one was really good.
Darkness Level 1 Marc Silvestri CVR C #1 $2.99
Darkness Level 1 Stepjan Sejic Painted CVR A #1 $2.99
Darkness Level 1 Video Game CVR B #1 $2.99
Fear Agent #10 $2.99
Godland #15 $2.99
Hellshock Definitive ED Vol 1 HC $49.99
Al: Oh hey, this is by Jae Lee. I love his art.
Kurt: You did read the column a couple of weeks ago, didn’t you?
Hellshock Definitive ED Vol 1 HC Remarked $149.99
Hunter Killer Ltd ED HC $19.99
Kurt: This series has picked up in the past few issues. I’m not a fan of Marc Sylvestri’s art, so I was happy to see the change. And, it’s actually coming out on time now, so I can’t make fun of it for only coming out biyearly.
Jack Staff Vol 3 Echoes Of Tomorrow TP $16.99
Al: So is that like...backwards echoes or something? I don't really get how that works, man.
Kurt: Reality-altering punches, man.
Meltdown #2 (of 2) $5.99
Mike Carey's One Sided Bargains (one Shot) (MR) $5.99
Al: Does this feature the Alan Iverson deal? YES! I made a basketball joke! Love me!
Kurt: How about I just hate you with every inch of my being, instead? There’s a thin line, and all that.
Negative Burn #8 (MR) $5.99
Nightly News #3 (of 6) $2.99
Phonogram #4 (of 6) (MR) $3.50
PVP #30 $2.99
PVP Vol 2 Reloaded TP $11.95
Silencers TP $14.99
Al: Something to do with spies.
Kurt: Or potatoes, if you’re rollin’ in South Central.
Spawn Collection Vol 1 TP $19.95
Kurt: So, McFarlane has finally started releasing Spawn in phonebook-sized collections. I might actually have to start getting these.
Strange Girl #13 $2.99
MARVEL COMICS
Amazing Spider-Man #537 Cw $2.99
Avengers Disassembled Iron Man TP $14.99
Bullet Points #3 (of 5) $2.99
Civil War #6 (of 7) $2.99
Al: It's almost over!
Kurt: And everything will be changed forever. I also have some nice swampland I’d like to sell you in Florida.
Civil War Front Line #10 (of 11) $2.99
Civil War Turner Var #6 (of 7) $2.99
Fantastic Four The End #4 (of 6) $2.99
Incredible Hulk #102 $2.99
Al: Penultimate issue of the Planet Hulk epic.
Iron Man Armor Wars TP $24.99
Iron Man Hypervelocity #1 (of 6) $2.99
Al: See, it's like velocity, except wickeder. Heypervelocity! I'm gonna start adding hyper- to all my words, because I'm not hyperbolic enough as it stands.
Kurt: How lame is this title, Al?
Al: Hyperlame! However, on the plus side, it's written by Adam Warren (the spectacularly fun Livewires), who always comes up with stupid names for everything and then rocks the house anyway. So I'll still check it out.
Irredeemable Ant-Man #4 $2.99
Jack Kirbys Galactic Bounty Hunters #4 $2.99
Kurt: Marvel has finally done it – comics written from beyond the grave.
Marvel Adventures Spider-Man #23 $2.99
Marvel Spotlight Ghost Rider $2.99
Ms Marvel #11 $2.99
Newuniversal #2 $2.99
Al: Yeah, I wasn't totally sold by the first issue here. I liked the introductions of Star Brand and Justice; I've always thought Nightmask was sorta lame, so whatever. And where is Spitfire, the hot little redhead with a robot suit? And of course, and most important of all: where are Kickers, Inc?
Kurt: I actually liked the first issue quite a bit. It seemed slow to start, but I have no doubt it’ll pick up.
Powers #22 (MR) $2.95
Punisher War Journal #2 Cw $2.99
Al: Yay! God, I loved the first issue of this book.
Kurt: I have to admit, this was pretty f—king amazing.
Punisher War Journal 2nd Ptg Olivetti Var #1 (PP #745) $2.99
Kurt: And hell, I might even buy this.
Red Prophet Tales Of Alvin Maker #5 (of 12) $2.99
Kurt: I bought an Alvin Maker at Wal-Mart, but it couldn’t make Simon or Theodore, let alone the Chipettes. I totally returned it and bought a Clapper instead.
Spider-Man And Power Pack #3 (of 4) $2.99
Ultimate Fantastic Four Vol 5 Crossover TP $12.99
Ultimate Spider-Man Vol 6 Venom TP $15.99
Ultimate Vision #2 (of 5) $2.99
Ultimate X-Men Vol 15 Magical TP $11.99
Uncanny X-Men #482 $2.99
X-23 Target X #2 (of 6) $2.99
Kurt: I know I’m the lone voice crying in the wilderness here, but the X-23 stuff by Craig Kyle and Christopher Yost is really good. Check it out.
Questions? Comments? Let us know what you think at comicscape@mania.com.
I notice certain superheroes appeal to you in that mindset you have when you're a kid.
and then if they're very lucky they appeal to you in an entirely different manner when you're older.
Aquaman for example I find works primarily when you're a kid, or it did back when a big part of being a kid, involved swimming.
(Before people worried about bacterial soup or terrorists and actually played outside with eachother instead of inside with their joysticks -Ed)
Thing about it, kids summers were spent _swimming_.
if you stayed home and went no-where you were swimming at community centers, parks or friends houses; if you did go somewhere you were swimming in the sea or in a hotel swimming pool..being a kid was all about swimming.
Ergo we all invariably at some point opened our eyes while we were under-water and saw how cool the netheraquaworld was.
And then promptly ran out of air.
Aquaman does all the things we tried/wished to do when we were under-water kids.
But he's not as interesting when we get older.
I find.
..as the mindset and lifestyle changes, we lose interest in Aquaman except as a form of childhood nostalgia.
I find.
Yet a good Aquaman writing run can easily remedy that and pull us back in because the point is that someplace in the back of our heads, this character has taken up intellectual real-estate within our minds.
It just remains to be tapped and resurfaced.
Batman conversely requires no re-working, he appeals on both/multiple levels.
When you're a kid, you look up to him as someone that would protect you (I'd argue we're actually subconsciously identifying with Robin at this point)
then he's even cooler when we're older because we start to shift over and identify more openly with Batman as we realize we can actually be this guy. He's not superhuman, he's very human.
what might be really interesting to look at, to anwer your question of what characters are uber-icons..
would be this temporal experiment:
constant exposure and re-exposure is instilling these superhero icons into the collective consciousness on a recurring basis.
arguably accounting in some part for why they remain iconic.
The experiment: if you let a half-century pass -without- any sort of new comic or tie-in, TV series, film, book, id est. nothing whatsoever new is released for the icon in question, and you released an entirely new line of superheroes during that time period that -were- promoted with movies, new comics, tv series, et cetera, for that 50 years,
then
what of the original icons would be left standing?
what could re-launch into an entirely new generations marketplace and headspace and take up mental real-estate?
if we can answer that question objectively, we have an answer as to which of the superheroes the true uber-icons are.
imo.
-- michaelXmaelstrom.