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Topic: Nature versus Nurture.. (Topic Closed Topic Closed) Post ReplyPost New Topic
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Jason Scott
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Posted: 29 May 2016 at 6:54am | IP Logged | 1  

Something occured to me last night when contemplating Marvel & DC's latest vies for attention grabbing, through shake-ups of the status quo.

When I was kid it seemed like whatever alternate reality tales we got of Superman and the the other big heros, no matter what happened they usually turned out to be the same good people at heart and would at the end of the day still manage to do the right thing. But the latest silly Cap storyline and the excuse that DC's New 52 is full of pessimism and hopelessness because of 10 years being stolen from the characters, seems to take the opposing view. That those characters were only so heroic due to their specific experiences. Thus when you take those away, they can then become the total opposite of what they used to be.

Does this mean then that there has been a pendulum swing away from the old manner of thinking there? Are people seen now as only a product of their upbringing and not good or bad at heart. I've read some commentators try to tie it to a drop in the numbers of western folks going to church and maintaining the old beliefs of seeing people as being intrinsically good or bad. A lot of folks say it is a good thing, in that it's supposed to be a more realistic look at the world and issues of parental responsibilty.

But I was curious to hear what people on the board think on whether there has been a noticable shift there, and if that's a good thing? As I must admit that I'm kind of torn. I guess where comics are concerned, I just don't want my childhood heroes to be realistic in that sense. As I guess to me that was always the appeal of such things. That we could escape into a world where heroic characters would be morally impeachable, and definitively good. Which I guess was a nice contrast to the stresses of real life, where everything would be so much more complicated than that.

It just makes me wonder if we've lost something. Or are we indeed better off from removing the rose coloured glasses? (Unless you're Cyclops of course! ;) )
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John Byrne
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Posted: 29 May 2016 at 7:21am | IP Logged | 2  

It just makes me wonder if we've lost something. Or are we indeed better off from removing the rose coloured glasses? (Unless you're Cyclops of course! ;) )

••

What you reference we used to call "Mort Weisinger Stories." It was in his editorial days that we often saw "alternate realities" where Superman always turned out to be Superman.

And, you are right. Current recyclers have forgotten the basic core of the characters. That's how we get fuctup versions of Reed Richards, Charles Xavier, Captain America, and so on.

Roger Stern used to say of one writer that the guy could not do good superhero stories because he did not believe anyone could be more noble than he was -- ie, not very! Over the past several decades, we have seen that mindset become more and more obvious in American superhero comics.

(Is it just a coincidence that much of it seems to have come from British writers, who very obviously did not understand the most basic tropes of the superhero concept?)

And, rose colored glasses? Well, let's remember that these are fictional characters, and they are who their creators tell us they are. Later writers do not "reveal" dark histories, they invent and insert them.

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Greg Kirkman
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Posted: 29 May 2016 at 9:56am | IP Logged | 3  

I think that one of the most absolutely magical parts of good character writing is when both the writer and readers (the ones who pay attention, at least) reach a point where they can say, "Character X wouldn't say/do Y". That's the point where a character has become so properly defined and has such clear personality traits that they have predictable "behavior". That's the magic of good writing--when the characters feel like real people.


Which makes it all the more painful to see them taken so far off course, and to see so many fans not have a problem with it. I pretty much guarantee that, if I went and picked up that latest issue of Character X's book, I'd find the characters unrecognizable. What point is there in telling a "good story" with familiar characters if said characters are unrecognizable?


Edited by Greg Kirkman on 29 May 2016 at 9:57am
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John Byrne
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Posted: 29 May 2016 at 11:33am | IP Logged | 4  

Money ruins everything.

And I'll keep mine, thank you, but we must never forget that there was very little money to be made when the Old Guard were just the Guard.   Then it was about mass producing pages, without thought of personal glory. Not even any credits on most titles!

As a friend who worked in those days told me, whenever someone asks "what he was thinking" as he crafted a particular page, he'd say "I was thinking I had to finish the %#₯€ing page so I can hit my deadline."

Comics that are still considered classics were produced in this way!

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Eric Sofer
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Posted: 29 May 2016 at 12:32pm | IP Logged | 5  

Mr. Byrne, you're far more experienced with writing and deadlines than I am; but is it reasonable that, since writers didn't have a lot of time to explore how THEY felt the characters should behave that they had to cleave to the model, and use that for the stories - much as I think that artists used to follow a model sheet, rather than add their own little specializations to the art had they had time and control?

I mean, if we had had Joe Shuster, Wayne Boring, Curt Swan, and Al Plastino design a Superman costume from scratch, I'll wager we'd have four VERY different designs! (Insert your own artists and/or characters if you prefer...)
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Jason Scott
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Posted: 29 May 2016 at 12:36pm | IP Logged | 6  

"Roger Stern used to say of one writer that the guy could not do good superhero stories because he did not believe anyone could be more noble than he was -- ie, not very!"

----------------------------------------------------

Urgh! that is sooooo annoying! Why even write stories, if you have no regard whatsoever for the characters? (I guess money is the obvious answer. But it's still dispiriting..)

"(Is it just a coincidence that much of it seems to have come from British writers, who very obviously did not understand the most basic tropes of the superhero concept?)"

------------------------------------------------------------

Being from the UK, or at least Scotland anyway, I kind of wanted to argue that point. But then I remembered how much of a continual mess Captain Britain has always been, even though I don't think he started out that way under Claremont. It really does suggest a different mentality.

And that's before you get to all the Mark Millars of the world. (Whom on behalf of my country, I will never be able to apologise enough for!)

And yeah Greg, I absolutely agree that that kind of clearly defined character outlook is what's really missing now..

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Greg Kirkman
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Posted: 29 May 2016 at 2:27pm | IP Logged | 7  

It used to be about establishing a model, which would then serve as a platform for storytelling.

Somewhere along the way, it became all about breaking the model for shock value. Drawn-out origin stories, insane retcons, warping characters for the sake of publicity stunts, etc.

There's a certain irony in that so many good stories were told using established characters/ format, and now, breaking the characters seems to be a prerequisite for telling "good stories".

Just yesterday, I was chatting with a friend about how I've never seen the HARRY POTTER films, nor read the books. I explained that, if I was put in charge of making a HARRY POTTER film, I'd be darn sure to go back to the source and understand the nature of the material--how it works and why. Try to be true to it, and do it right. Treat it as a responsibility and a job.

These days, it tends to be one of two mindsets:

1. "I don't know and understand this material, so I'm just gonna do it my way, and throw some familiar references on top to appease the fans." (See: AbramsTREK)

2. "I'm a longtime fan of the material, and I want to do all the things I've always wanted to see, and make the characters/book better." (See: Just about any comic coming out of Marvel/DC written by a longtime-fan-turned-pro).


I mean, when you have as stunning a template as Lee and Kirby's FANTASTIC FOUR, and yet you produce such dreck as many of the FF comic runs of the past few years, or a film like FANT4STIC, something is seriously, seriously wrong.

It's right there on a ****ing silver platter, people! Just READ it!
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John Byrne
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Posted: 29 May 2016 at 3:56pm | IP Logged | 8  

Being from the UK, or at least Scotland anyway, I kind of wanted to argue that point. But then I remembered how much of a continual mess Captain Britain has always been, even though I don't think he started out that way under Claremont. It really does suggest a different mentality.

•••

As a lapsed Brit myself, I see it this way: the British mentality, thru its history, created heroes who were men of high social rank, kings, princes, knights. Even the heroes like Robin Hood, who were "of the people," came from or rose to the nobility. Then, over centuries, the Empire crumbled, and a kind of overarching cynicism replaced the the days when (to borrow a line from Jeremy Clarkson) "we really were as great as we still think we are." That's no place for superheroes.

America was almost the opposite. It built its heroes from the bottom up. And because we started as a poor little country bumpkin cousin to Great Britain, we had to build our heroes fast, and we had to build them bigger and better than anyone else's.

Until the rot set in. Until there came the writers who did not want to build, only to tear down. Starting with the Brits? Maybe. But wherever the boat sailed from a lot of people, fans and pros, bought tickets.

I'll admit to being one, for a while, until I got tired of sailing in circles.

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Brian Rhodes
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Posted: 29 May 2016 at 7:20pm | IP Logged | 9  

Just yesterday, I was chatting with a friend about how I've never seen the HARRY POTTER films, nor read the books. I explained that, if I was put in charge of making a HARRY POTTER film, I'd be darn sure to go back to the source and understand the nature of the material--how it works and why. Try to be true to it, and do it right. Treat it as a responsibility and a job.

Sounds like what Nicholas Meyer did for TWOK. And how did that work out?


Oh, yeah...great. It worked out great.
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Jason Scott
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Posted: 30 May 2016 at 7:06am | IP Logged | 10  

"...a kind of overarching cynicism...That's no place for superheroes."
------------------------------------------------------------ -


Yeah..if Heroes are supposed to be about hope and inspirational storytelling, then that does fly in the face of cynicism. Kind of opposing forces there. Wish more folks would realise that..
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Eric Jansen
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Posted: 31 May 2016 at 4:14am | IP Logged | 11  

It's Construction vs. Deconstruction.

I liked WATCHMEN and DARK KNIGHT RETURNS, but they were both Deconstruction.  However, they had REASONS to be deconstruction--WATCHMEN was a cautionary tale from an alternate reality and DARK KNIGHT was "What would Batman be like if he got old and the world kept getting worse"?  These were supposed to be exceptions, but then they became the rule.  Marvel and DC have been Deconstructing more and more since the late 80's and they just keep getting worse.  I guess the British writers are all about Deconstruction, but all the writers and plotter artists (like Ditko on SPIDER-MAN, Kirby on FF, and Byrne on X-MEN, etc.) I liked in the 70's and early 80's (and in the reprints I read of the 60's material) were Constructing.  (And the American writers I loved as a kid mostly moved on to Independents, TV, and novels.  Or were they pushed out?)

The reason everybody loves the Marvel Studios movies is because they're Constructing (telling the original Construction stories from the 60's and in some cases the 70's).  The reason the DC movies keep disappointing is that they are all about Deconstruction.  In BATMAN V. SUPERMAN, Batman and Superman HAVE to dislike each other; SUPERMAN RETURNS and MAN OF STEEL both us a Deconstructed Superman with very questionable decision-making skills; and SUICIDE SQUAD is up next--a Deconstructed concept in the comics that's TOTALLY based on "Hey, we've seen these villains a hundred times already, let's do something new with them!"  Marvel Studios has given us a Captain America who's honest, brave, noble, and patriotic--heroic before he was given the Super Soldier serum.  They might have been afraid to go ahead and keep him patriotic and good in these cynical times, but they did the right thing and the audiences flocked to it and loved it to the tune of over a billion dollars.  Apparently, the comics have decided no he can't really be a good man and have "revealed" his dark secret.  Eventually, the movies may start Deconstructing and that's probably when Marvel Studios presentations will no longer be sure hits.

But do we blame the Deconstructing writers or the editors who hire them?  (Or the Publishers who hire those editors?)


Edited by Eric Jansen on 31 May 2016 at 4:17am
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John Byrne
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Posted: 31 May 2016 at 5:23am | IP Logged | 12  

"They are a good people, Kal-El. They wish to be. They only lack the light to show the way."

Messianic metaphors aside, that sums up the ideal superhero model. It doesn't mean we can't have grumpy superheroes (the Thing), or troubled superheroes (the X-Men), or even antisocial superheroes (Wolverine), but it DOES mean they should take the high ground. Doing the right thing for the wrong reason is acceptable. Doing the wrong thing for the right reason also, as long as there as consequences. But doing the wrong thing for the wrong reason -- we have villains to do that.

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