Dropping Science: The Science of Spider-man

Spidy fans are enjoying the brief window of press time for their favourite wall crawler before everything goes a bit Gotham and science is never one to miss out on a good party. In their latest video ASAP Science are looking at the actual science behind Peter Parker’s crazy powers.

Amazing stuff.

D
x

Advertisements

Spider-man TV Spots: The Picks!!

And so it begins!! More Lizard, more swinging about!! Avengers had a rip roaring success with their TV Spots – though the suspicion is that it was successful because everyone wanted to go and see the Avengers. Never-the-less, in the competitive world of the movies, expect to see TV Spots all over the shop. Excluding the Dark Knight which knows how to run a media campaign. With that in mind however the TV Spots do give us some insight into what is about to hit us in the face.

Little moment of Gwen Stacy time. (Spoiler Alert to non-comic book readers) This is a slightly disconcerting character idea but never the less, everyone’s favourite ex-President Martin Sheen is good ol’ Uncle Ben just waiting to get blown away in the background and Pete’s parents are making an appearance so clearly one of them might make it (unlikely). Hard to believe that the trilogy of films will literally be the steady decimation of every side character in Spider-man’s world. Where’s Harry and MJ for christ’s sake? I know one goes nuts and the other one gets deleted by a continuity minded master of the Netherworlds but still – it’d be nice to see someone make it through a little further. Poor Ol’ Pete.

Still, maybe the Lizard’ll make it… Why have I never noticed how many people get wiped out when associated withePeter Parker. He’s like the Jessica Fletcher of comic books.

Amazing Spider-man Trailer 2: Peter Parker Revealed as wise cracking as the real thing (also some Lizard)

There is a little retiscence in getting overly excited about the New Amazing Spider-man movie in me until now. The last thing anyone needs is another creation movie (everyone knows it; it’s the lore of the street now like Superman getting it on with Lois Lane and Batman’s an orphan; Peter Parker got bitten by a radioactive Spider). However, whatever initial fear was developed in the previous trailers and teasers, Andrew Garfield as Spider-man being one of them – this trailer begins to torch them.

Tobey Macguire was a great Spider-man but couldn’t knock out a Spider-quip in the way that Andrew Garfield clearly can. Oddly, it was almost an aspect of the wall-crawler many had forgotten following the first three movies. Spider-man is a wise-ass. To deal with the fear and insecurities, Parker always through out quirky one liners (something that has made other Marvel characters – notably fellow Avenger Wolverine – want to kill him).

But it was that detail that perhaps we missed in the Sam Raimi trilogy (excellent though the first two were). When the mask went on, it was only Spider-man.

If this trailer’s anything to go by we’ll be seeing Parker under the suit during the massively expensive fight scenes.

‘Aaah, you’ve found my weakness – really small knives!!’

Awesome!!

Practitioners 50: Stan Lee (Part two)

In 2011 the first Kapow convention in London pulled together a line-up of incredibly popular and legendary writers and artists. Mark Millar, Frank Quitely, John Romita Jr, Lienil Yu, Dave Gibbons, Chris Hemsworth, the cast of Being Human, Merlin, Misfits, IGN stands, Marvel, DC, film previews and a Guinness World Record attempt. In 2012, arguably it’s main competitor has Stan Lee in his first visit to a British Comic Convention. People actually saw this as a coup.

Stan Lee, legend of legends appeared at the first Super Comiccon in February 2012 at the Excel Centre in London. The effect was enormous. In an industry trying to find it’s feet it had exactly the right effect. The event was an enormous success. The crowds were more mainstream than had previously been seen. You can claim a number of reasons for this but what it boiled down to was this – it was a chance to meet the man who changed the face of comics.

In the late 1950s Stan Lee was working for what was known as Atlas Comics. He was disgruntled, writing Romance, adventure, westerns, humour, medieval adventure, horror and suspense. By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.

A curious set of circumstances began to accumulate that was to fuel the creation of Marvel Comics. In DC, Editor Julius Schwartz had run into considerable success with the updated version of the Flash, reviving the superhero archetype, and later had the same success with the Justice League of America. In response to this, publisher Martin Goodman asked Lee to create a new superhero team. Lee’s dissatisfaction with the industry was now turned into an advantage. With his intention to leave comics and with nothing to lose, Lee’s wife urged him to experiment with stories he wanted to write. It was here that the crucible of the entire Marvel Universe was formed. Lee, who, having dutifly worked for comics since he was 19 was about to change every rule.

Lee acted on the advice, giving his characters a flawed humanity, a leap from the god-like archetypes that had been striding the pages of superhero comic books. Lee introduced complex, naturalistic characters who could have bad tempers, melancholy fits, vanity; arguing amongst themselves, but crucially propelled downwards at terminal velocity back to the streets of the real, now forced to worry about bills, relationships, homework. The Superman had been knocked off his perch, dressed as Clark Kent forcibly and told to work his way back up to Superman. Champions were no longer heroes by right; Lee brought the demi-gods of Golden Age comic books back to their literary roots. They were now subject to heartache, anxiety and could even get physically ill. These aspirational figures had become accessible. No longer beyond the reach everyone on the streets, they are everyone on the street – struggling with the same impassable issues we all do.

The first was the Fantastic Four. Workaholic Reed Richards, brash and impetuous Johnny Storm, thuggish and crude Ben Grimm and the occasionally ferocious Sue Storm were hammered with cosmic rays and thrown back to Earth where they respectively gained the powers of elasticity, fire and flight, invulnerability, super strength and impervious rock skin and invisibility. The combination of super powers and real life drama is reflected now in the popularity of supernatural and superhero TV shows. It proved a flawless and undeniable combination; real life issues and concerns propelled into battles with monsters, investigation of interdimensional travel and space giants!! The most noteworthy character was Ben Grimm, named ‘The Thing’ thanks to his new found craggy demeanour. Reflected in his personality, his is in fact a science fiction story of a successful, confident figure being faced with dismemberment. Susan Storm’s feelings of abandonment by the man she loves and his lack of understanding as to why his work isn’t more important to her are universal ideas, locked in high literature and TV soaps. When the emotional story lines might dip in other genres now there were Mole Men to smack down, or intergalactic heralds declaring the arrival of a globe threatening natural disaster.

The Fantastic Four’s immediate popularity led Lee and Marvel’s assembled Marvel Illustrators, including Steve Ditko, Bill Everett and led by Jack Kirby to create a field of dreams that would outlast almost every other book on the market. With Kirby, primarily, heroes known throughout the world, representing ideals and concerns and fears recognisable to everyone began to appear out of the smoke of heady creation. Bruce Banner saved Rick Jones moments before a Gamma blast irradiated him and created the angry, defiant, thundering Hulk, genius inventor Tony Stark meets his greatest fears as he is forced to create a metal suit to save him from shrapnel wounds to create Iron Man, the mutant X-Men are assembled in a Westchester School of Higher Learning by Professor Xavier, Lawyer Matt Murdoch gains super senses as a result of losing his sight as a young boy, swearing to represent justice at both ends of the spectrum. Captain America returns from the icy seas of the North Atlantic, Namor is resurrected from war-time comic books, the Norse God Thor appears from the thunder and the Avengers are formed. Finally with Steve Ditko, Doctor Strange – an arrogant doctor who loses his hands and uncovers, in his desperation to regain them – the art of mysticism and finally, the figure that represents most clearly Stan Lee’s ideals.

Lee had been watching a fly crawling on the surface of a window and ‘marvelled’ at it’s ability to move as it did. Imagining a man capable of the same thing he decided that ‘Fly-man’ had little appeal however perhaps a ‘Spider-man’ would have a better time in the cavernous streets of Manhattan.

Stoic, brave and heroic, Peter Parker is the absolute embodiment of the Marvel ideal and it’s most successful character. Representative of every one in America, his struggles are real, his fears and worries palpable and his capacity to overcome them unlimited. Parker is the little guy, the sickly, victimised orphan boy mollycoddled by his Aunt, he is clever and brave but struggles to utilise either. With the bite of a radioactive spider, Peter Parker gains the proportional power of a Spider. Over the years Spider-man has fought every major villain in the Marvel Universe, wise-cracking all the way in a fit of denial as to the situation he is throwing himself into. Those idiosyncracies and habits are real. The overcompensation of Peter Parker to be Spider-man on the battlefield historically irritates more seasoned, honed fighters but that’s the point. He’s no professional. And Lee understood this and presented a boy trying desperately to keep up with the lot life had shown him, without realising, as so many of us do, how capable he always was. The perpetual underdog, Spider-man shines with a humanity that Lee gave him more than half a century before – and one that will never dim. Editor-in-chief Joe Quesada’s decision to scrub out Peter Parker’s life with Mary Jane, his wife, was one of genuine affection and a need to return to the vulnerability that Lee had imbued him with previously. While the character was growing, it was the innate lack of experience that Lee had given him that made Spider-man such a mainstay character and it’s testament to Lee’s decisions so long ago that Quesada felt the need to reset it.

The other defining characteristic introduced by Stan Lee was that of a shared universe. This connected all of the various characters together in a way that united the creators and readers in a way. A community could now be formed around that universe. Based in the real world, the cities were those that the readership woke up in every day. The Human Torch left a message for Spider-man across the sky over the real Manhattan. Gods walked amongst men in a way unseen. The Hulk smashed in real states, not the purpose built spires of an imaginary city such as Metropolis, Gotham or Coast City. It also reduced the level of destruction that took place in the confines of the books which bred greater creativity in developing the plots. It turned the real world, in particular New York into a sandbox world to be played with, both recognisable by real and fictitious characters. It raised the stakes as well as the events taking place had the potential to end everything we all knew. Galactus would devour our homes and towns. The nuclear threat created by Magneto would radiate part of our planet. These were gods given consequences.

While Superman’s Metropolis had been laid to waste by Doomsday and flood and rebuilt, Batman’s Gotham destroyed by plague and earthquake and Coast City decimated by star ship as a mere plot point someone else’s story in order to facilitate a plot that would bring back Superman in Stan Lee’s Marvel Universe a single school is destroyed in middle america in a dust up between super powered ‘heroes’ and ‘villains’ and the effects are far more divisive and far reaching than the destruction of an entire state in DC. Stan Lee gave Marvel pathos, real life drama, boundaries and greater emotional punch. He gave us figures that could bring down buildings but crack under emotional pressure. He gave the super humans their humanity. It is something that cannot be undervalued.

Stan Lee’s Marvel revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators. There has been some dispute as to the creative credit associated with his works – particularly in the case of projects with Kirby and Ditko, however Lee did more for creative credit than any other editor previously. Lee introduced the practice of including a credit panel on the splash page of each story, something now adopted into every book brought out in some manner, naming not just the writer and penciller but also the inker and letterer. This has fuelled fans of writers and artists as well as characters, titles and companies over the years and has really allowed articles such as The Practitioners to develop. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Lee had made the Marvel Universe friendly and easy to visit – his welcoming and inclusive style and his love of people clear in his approach to how he ran this company.

Throughout the 1960s, Lee scripted, art-directed, and edited most of Marvel’s series, moderated the letters pages, wrote a monthly column called “Stan’s Soapbox,” and wrote endless promotional copy, often signing off with his trademark phrase “Excelsior!” (which is also the New York state motto). To maintain his taxing workload, yet still meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee’s success with it, became known as the “Marvel Method” or “Marvel style” of comic-book creation. Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon.

Because of this system, the exact division of creative credits on Lee’s comics has been disputed, especially in cases of comics drawn by Kirby and Ditko. Lee shares co-creator credit with Kirby and Ditko on, respectively, the Fantastic Four and Spider-Man feature film series.

In 1971, Lee indirectly helped reform the Comics Code. The US Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker’s best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.

Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry. “Stan’s Soapbox”, besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice. This has been seen throughout Marvel’s history as writers introduce plots they feel particularly strong about, Peter David’s continued inclusion of gay and lesbian agendas in his work from The Incredible Hulk and X-Factor has allowed a subject he feels strongly about be presented in an unusual but popular medium. That, in part, is thanks to Stan Lee’s years of effort and devotion to putting out positive messages of tolerance and civility.

But it is Stan Lee’s lasting legacy (one that he still fuels) that has elevated him above other writers, artists and creators. His relationship with his fans and his creations have made him synonomous with them. If you type in Stan Lee into any search engine, the majority of the images generated will be of the man himself; as famous as any one of his creations. That was what we saw at Super Comicon in London on February 25th and 26th in 2012. A man who allowed millions to dream of seeing a man fly through the sky on rocket jets – but more importantly – made it clear that they could just as easily be that man themselves.

Next: The Legacy of Stan Lee.

Practitioners 41: Erik Larsen

If Simon Bisley is the Heavy Metal and Neil Gaiman the careful lyricism, Erik Larsen is the rock and roll of comic books. Bold colours, flash bang visuals, heavy weaponry, implausible chicks, nasty ass comic book violence and a great hero rising through the pile of body parts and big boobs. Creating a middle ground for those becoming disillusioned with the ‘big ones’ homogenised, careful storytelling, Larsen grinds the pulpish, the extreme and the deliberately silly and offensive together in a cathartic throw back to comics pulp heyday in an unapologetic, hedonistic and ultimately downright fun experience. Recognising that a page is an empty space, pregnant with possibilities, the only limitation – the edges of the artist and writers’ imagination.

Even in the boom days of the nineties, the average comic book geek was under the age of 12 or most likely a social pariah. To these people, escapism was characters that did what they wanted, represented ideals they believed in, got the busty girl and were never intimidated by a sky full of Martian space ships. These readers had a well developed silly bone and an understanding of pulp humour. The readership wasn’t frightened of a book that revelled in random events in the name of kitsch entertainment. This escapism saw heroes appear that were bright, bold, unremitting and smart mouthed. Cartoon heroes for Saturday morning television, made untransmittable before 10PM EST. Erik Larsen was the king of this. A master of crazy, bombastic pulp.

Larsen was born in middle America in Minneapolis, Minnesota. As a child growing up in Bellingham, Washington and Albion, California he created several versions of a character named ‘The Dragon’, a batman like character, driving a car copied from Speed Racer’s Mach 5. Producing a fanzine with a friend which featured ‘The Dragon’ the character was developed into a character able to change using a magic word like Captain Marvel.

Taking his first paid work, working on Megaton, co-creating and illustrating a feature called ‘Vanguard’ with publisher Gary Carlson. The Dragon appeared, slightly revised in the second edition. Larsen went on to work on the Sentinels of Justice for AC Comics and DNAgents for Eclipse Comics.

His work at DC included The Outsiders, Teen Titans, Adventures of Superman and Doom Patrol. For Marvel he completed a The Amazing Spider-man fill-in story and 5 issues of the Punisher. Frankly Larsen made it look easy. Wandering from company to company, first working on incredibly diverse titles for DC and ultimately extremely high end titles for Marvel. Aside from a Nova storyline cancelled for Marvel Comics presents, his flight up the ladder at Marvel was unstoppable. Alongside his master work, as writer and artist on Savage Dragon, Larsen has found an occasional home with Marvel, returning to write and illustrate on Fantastic Four, The Defenders, Wolverine and Nova. He briefly returned to DC to write Aquaman.

Just a selection of the alternate Dragons from the incredibly wild Larsen Universe (by Art Adams)

In 1990, Todd McFarlane was leaving the title Amazing Spider-man, a title he had visually revolutionised and Larsen took over the reigns as of 329, having previously pencilled issues 287, 324 and 327. With writer David Michelinie and Larsen, the series experienced increased sales, with stories such as ‘ The Cosmic Spider-man’, ‘The Return of the Sinster Six’ and ‘The Powerless Spider-man’ that deliberately took off the gloves Spider-man had been treated with. Larsen kept pace with the extreme nature of the story lines, Mary Jane never looking sexier, the character numbers and speed and occurrence of events break neck.

It was during ‘The Return of the Sinister Six’ and before ‘The Dragon’ found his place among the comic book elite that Larsen cemented his place as a true Practitioner. During the production of the book his house was destroyed by flood. While trying to deal with this situation he never missed a page, or reduced the quality of his work – instead accepting an offer by Marvel to reduce the page numbers for two months and fill with back stories. Larsen’s enthusiasm and strength of character bled through here as the rendering of the characters and storylines never missed a beat. Doc Oc swung menacingly into view and epic conflict between multiple characters played out across page after page. Had it not been mentioned in the collected graphic novel, no one would have ever have guessed what was taken place. Not only that, but the faith and help offered by Marvel, a large corporate company, was willing to move mountains to see Larsen complete the project – such was his popularity at the time. His influence on one of the most popular books in comics history, exceptional even in a field of high selling books, places him retrospectively among the greats. But the best was still yet to come. A bawdy, violent, crazy and personally driven comic, seeing his childhood creation fall into the hands of millions of readers around the world. Image had been born under McFarlane and Larsen was going to prove a true linchpin and the very epitomy of the companies ethos. Creator owned and creator driven books were to be given an icon. And that icon was the absurdly named Savage Dragon.

Shedding ideas like an enthusiastic 8 year old, completely unafraid of running out of original material, Larsen took readers on a roller coaster ride experience. Pneumatic vixens and wild mutant monsters crowded the streets of Savage Dragon’s home town Chicago, while Larsen was the man to pull back together the Sinister Six (a combination of all the worst enemies of Spider-man) in New York for Marvel. Artist, script writer, plot and character designer – Larsen could barely contain his ideas on the page. This was what Image had been formed for and Larsen was about to take it by storm.

Seeking greater control and profit over the work they created, Larsen and six other illustrators abandoned Marvel to form Image Comics, where Larsen finally gave his childhood creation life in the form of the fin-headed, green super-cop, The Savage Dragon. This time a massively-muscled green amnesiac who joins the Chicago Police Department after being found in a burning field with no memory of how he ended up there. After a series of self-published redesigns of the character, the stripped down version of the Dragon was given a three issue limited series in 1993, expanding to a full length ongoing series completely under the control of Larsen. Astonishingly, in self-publishing, Larsen has maintained a reasonably consistent monthly schedule (excluding a couple of occasional lapses) in comparison to the other Image titles. Larsen describes Dragon as the missing like between Marvel and Vertigo, aimed at older Marvel readers ready to throw in the towel on comics altogether. And in this he has pitched it perfectly. With a much more adult view, the Savage Dragon bridges the gap neatly between the teen orientated Marvel and the devoutly adult Vertigo titles.

If in any doubt as to why Larsen belongs among the hall of Practitioners, here it is. One of the brave and the bold to leave the relative safety of Marvel behind in order to self publish, Larsen’s title, The Savage Dragon, is the only title in the original line-up (besides Spawn) to still continue to exist and the only one still created by its creator. Image was built on Larsen’s ideals and he has proven that he always intended to see his dream through – marking him out as perhaps the most diligent, determined and honest creator to have left Marvel in the ’90s. Add to that his unnatural talent, enthusiasm and sense of humour and you have a natural comics talent with no time for the limitations of modern books. Larsen will continue to do it his way. Exotic women, massive guns and superheroes with Chicken heads prevail and the day Larsen stops doing that, a little light on an era that harks back to the beginning of comics will go out. Until someone finds a copy of Savage Dragon….

No more bidders: First ever Spider-man comic sold

It was the unintentional screw you to 20 years of god-like superheroes hulking and preening throughout the cosmos, created by an idealistic writer named Stan Lee and a new age artist named Steve Ditko. It partly launched and saved Marvel comics / entertainment, its central character cited to administrators by Director Avi Arad, as ‘worth $1 billion (alone)’ in the face of the company and its brands being broken up due to lack of liquidity. It introduced a struggling science student leading a double life as a web slinging wall crawler and friendly Neighbourhood superhero and has not faltered in popularity and has broken well beyond its original format and its just been sold for an amazing sum.

Amazing Fantasy 1

And there it is, Amazoing Fantasy 15, the first comic book to feature Spider-Man has been sold for $1.1m (£679,000) at a US auction, nearly half a century after it was published. Five decades ago, the comic was sold for just 12 cents. The sale, to an undisclosed buyer, comes a year after Superman’s debut comic book from 1938 sold for $1.5m – or £926,000. The book itself is in near mint condition.