Here’s the thing I realised about the potentials of Green Lantern and The Flash: they can fill niches way better than other superheroes do. Green Lantern would’ve made an excellent martial artist, exceeding the likes of Batman and Black Canary. It makes sense that if your shtick is to create stuff out of thin air in combat, chances are you’re more likely to create weapons.
Especially creating weapons out of nothing to deal with differing situations as well as learning something new to do it. The Flash would’ve made a particularly excellent escape artist if it weren’t for super speed. Instead of being made into a godlike character, The Flash could’ve remained fast and naturally suited for both evading and tracking.
That might’ve been done before but not to the extent that suits them the most. I suspect that superhero writers sometmes aren’t very keen on what they’re actually doing. For some characters, it’s based more on speculating than on extrapolating from real life.
If the Flash was heavily based on actual escape artists as well as footballers/soccer players and sprinters just as Green Lantern owes a lot to martial arts specialising in weaponry, you’d get something that realises and fleshes out their potential.
It’ll also make too much sense from a certain standpoint. It’s just that writers are too lazy to depict it because that’ll involve thinking and understanding things objectively. It also involves both the characters’ weaknesses and advantages.
That’s why it barely happens because that’ll involve a lot of careful planning and thinking in writing.
I had talked about DC’s future several times over and how it’ll emulate Japanese publishers when it comes to approaching IP, down to using programmes as glorified late night infomercials for more succesful products like webcomics and video games.
That’s got to do with DC’s location in the West Coast. Marvel on the other hand would be a little far behind the curve when it comes to exploiting webcomics. Rather than emulating DC’s lead, Marvel stops focusing on superheroes altogether except in archival form.
Marvel would end up publishing Disney comics and fairy tale stories, including translated editions instead. These make more money than the frankly useless superhero imprint.
At any rate when DC/CW kills off public interest in superheroes with stunts like Kon-El turning out to be James Olsen’s brother, punk detective Barry and Faplicity Smoak, Marvel being a subsidiary of Disney stops showcasing superheroes for good.
Drawing from life (or at least untouched photographs) is a necessity and discipline in illustration and cartooning though one wonders if similar things can be said of writing.
So far the only way to talk about it (and beat me to it) is the essay ‘Education of a Cartoonist’. It goes on saying that the majority of comics being written, though specifically addressing the American indie comics scene, are written by people with limited experiences and interests.
In the case with superhero comics, reality has to be toning down all the stranger stuff and speculating a lot on what’s like to have powers despite the meme about truth being stranger than fiction.
There are cases where people can lift vehicles like superheroes. I also get the weird impression that when it comes to coming up with super strength and super speed, most writers don’t bother looking up on actual strongpeople, soccer players and sprinters.
If they did, that leads to a very lively superhero. The liveliness is gone whenever superhero comics only look to other superhero comics for inspiration.
Actually that can be said of any fiction as long as it’s withdrawn from reality.
Here are the things that I don’t really get about superhero comics and in here it’s the choice of depicting kids. Teenagers in particular and while that might’ve been the case before there’s usually not much subtlety.
Teenagers have to be depicted as shorter and thinner than adults even in reality this isn’t always clear cut. When watching Justice League, I could deduct that Wally’s younger or more immature than Hawkgirl despite being taller than her.
Heck I have two kid brothers who are taller than me (or that I slouch very often). I even met a number of kids in school who were either the same height as adults, sometimes taller and sometimes bulkier.
I think this is portrayed in comics but not to the same extent. It gets weirder still in live action portrayals where several actors who play these characters are ironically closer to the way teenagers are drawn in comics.
To date on Arrow, the only mesomorph is John Diggle. Every other man’s an ectomorph and/or an ecto-mesomorph. This might not always be the case in comics either but it’s telling.
Jesse Hamm brought up why are superhero comics so hostile towards women (and to a damning extent, illustration and fine arts) is because of porn. That’s something that made me a bit uncomfortable but it makes sense.
Even if it’s not porn, it could just be cheesecake or the female form but women can’t always live up to those ideals and some don’t find it beautiful for long. It creates an environment that’s uncomfortable for people who have no interest in looking at naked bodies as well as those who don’t want to live with these ideals anymore.
Hamm’s also right about why men diss other men whenever they’re defined by their sex appeal. That explains the contempt for romance novels, boy bands and Justin Bieber. Hamm’s observations make way too much sense when you bring up the scarcity of superhero beefcake.
It also explains why women illustrators and painters are so low in number. Lesbians and bisexual women exist but they’re in the minority and they even have different tastes from the norm.
It wasn’t always the case but it rings true why superhero comics, illustration and painting are too hostile towards women, especially if they beg to differ.
There was a polarising film called Brave, which featured a stubborn heroine though someone else pointed out that the writers accidentally turned her into a villain.
Not to mention that at some point, not only was it going to be directed by a woman but the protagonist was supposed to come from a much humbler background.
Interestingly, had they went for a humbler upbringing Merida’s decisions and actions would’ve been not just justifiable but also relatable on some level. A number of celebrities start out humble and there’s the possibility of a good rags to riches story.
This would be interesting to see a humble heroine rise to the top when she defeats a bear. That’s somebody we can all root for. That’s also been done before in films like Mulan, Beauty and the Beast, The Princess and The Frog and Mulan.
Though I haven’t watched the film, it’s a shame that they have to make her a straightforward royalty instead of being a commoner.
I have a feeling that when DC starts exploiting and publishing webcomics, it will start emulating Japanese publishers especially in their approach to IP. Programmes like Flash and Supergirl eventually get repurposed as infomericals for upcoming webcomics.
Not to mention that they get moved to late night timeslots for airing controversies like Kon-El being James Olsen’s younger brother, a depowered punk detective Barry Allen and a masturbating Felicity Smoak.
DC will also start publishing webcomics by East Asian, South Asian and Southeast Asian talents though Image and Dark Horse will not be far behind either.
DC has done webcomics before under the Zuda Imprint. Ironically, Zuda could’ve been used to promote and publish the New 52 comics and would act as a stepping stone for the DC Universe.
But when CW and CBS programmes like Supergirl and Flash cause too much controversy onscreen, they could get repurposed into late night infomericals. Especially for upcoming webcomics, novels and video games.
When DC starts seriously exploiting and publishing webcomics, it along with Image and Dark Horse will come into contact with and learn from East Asian publishers like Kadokawa, Shueisha and Kodansha.
Due to their West Coast location, they’ll be influenced by and will influence the Asia Pacific market. DC will end up having a strong presence in Singapore and the Philippines if it weren’t for Psicom republishing their comics for the Philippine market.
Whenever Supergirl and Flash cause a ruckus by giving us a Kon-El who’s really James Olsen’s baby brother and a punk detective Barry after losing his powers, these will cause controversy with death threats to boot.
Arrow also gets involved in the crossfire by having a masturbating Felicity Smoak but only two programmes will get repurposed into glorified infomericals for things like Clash albums, webcomics and novels.
I told many times before that superhero television will follow Evangelion’s lead when it comes to showing shocking content and then being moved to late night timeslots.
Evangelion has been there before and that influenced subsequent like Hunter x Hunter to do the same. Heck, something similar will happen to superhero television, complete with the death threats that Evangelion faced.
Supergirl will show two Superboys (Kon-El Olsen, Jimmy’s baby brother and Jon Lane Kent), Flash a depowered punk detective Barry Allen and Arrow a masturbating Felicity Smoak.
All of these are going to cause so much controversy that death threats overshadow the actual programmes and have them moved to a later time slot. This leads to these programmes becoming infomercials for webcomics, novels and games.
Just like what happened to anime before and ironically that’ll also save superhero television.
Superhero television will go the way of anime if Supergirl, Arrow and Flash start resorting to publicity stunts to boost ratings, even if this means incoming death threats. Something similar has happened to Evangelion, which triggered the shift toward late night anime airings.
When they air late at night, DC and Marvel will use them to promote more successful products like webcomics, novels and video games. It’s going to work for later superhero productions when the likes of Supergirl have proven.
It’s a role reversal in the way they treat IP. I talked about it before and it’s going to become a thing if and when these happen. The moment when Supergirl gives us two Superboys, superhero television heads for late night to get away with whatever they’re doing.