How DC Comics Was Invented

Perhaps no one understands the concept of “heroes and villains” or “good versus bad” as well as Malcolm Wheeler-Nicholson. Malcolm was born into a highly regarded Portland family who entertained guests such as Teddy Roosevelt and Rudyard Kipling. He found his calling as a young army officer, serving around the world in Japan and Russia. According to Wheeler-Nicholson, he “chased bandits on the Mexican border, fought fevers and played polo in the Philippines, led a battalion of infantry against the Bolsheviki in Siberia, helped straighten out the affairs of the army in France [and] commanded the headquarters cavalry of the American force in the Rhine.” It was only fitting then, that he would go on to found DC Comics, leaving behind a legacy of graphic novels that took a closer look at the struggle between heroes and villains.

Following the “Golden Age of comic books” came the “Silver Age” of the 1950s and 1960s, where DC Comics superheroes became a little more human. The Flash was the first DC character that wasn’t created by supernatural or alien means. He had been human, until a lab accident imbued him with superhero powers. While many more characters would follow this model, particularly by Marvel Comic Books, The Flash was the precursor and inspired an amalgamation of science fiction and superheroes that persists even today.

After “the Silver Age of comic books” of the 1950s and 1960s came “the Bronze Age” of the 1970s and 1980s. The Silver Age had introduced characters who were more “human” and less stereotypical do-gooders. They, like humans, hosted a range of emotions, interacted with other humans and struggled with complex psyches. During the “Bronze Age,” darker and previously-off-limits themes of drug abuse, personal vices, inner conflict and anti-hero character development entered the comic realm. Kids were no longer the only readers, so the business savvy comic book creator had to address more serious themes of society, personality defects and science.

The 1980s began what is known as “the Modern Age of comic books,” which persists today. This “Modern Age” builds off the Bronze Age but delves even further into the darker side of graphic novels, intertwining sex, drugs, vices, psychological struggles, imperfect anti-heroes, cynicism and social critique. During this time, the DC Comics Batman’s The Dark Knight series takes off, X-Men launches into the complex back histories of their characters and the Mutants went to war against the humans, and a number of apocalyptic comics graphic novels came out, threatening the end of the world.

Over the years, the success of DC Comics has owed much to the Radio/TV/Film/Video Game enterprises, which helped catapult the old comic characters back into mainstream intrigue. The adaptation of superheroes has come a long way from the 1980s campy Batman TV series starring Adam West. Today, much care must be taken in creating superhero films that impress, such as “Spiderman” or “Batman’s The Dark Knight,” rather than “Daredevil” or “Catwoman.” There is always the danger of over-saturating the market with superhero films, thus negating the box office appeal of the genre, so comic book creators are generally very guarded about doling out the rights for such projects. When done right, though, the superhero film becomes a blockbuster, profit-driving empire that Major Malcolm Wheeler-Nicholson could have never imagined.

Oscars Fail: They Should have Given it to Mad Mickey Rourke

The Academy Awards have come and gone once again. Most of the awards went according to plan. The British were the big winners on the night, with Slumdog Millionaire scooping, well, nearly everything, and Kate Winslett getting the Oscar at long last. For me though, the thing that disappointed me the most was that Mad Mickey Rourke missed out on the Best Actor Oscar, one he was expected to walk away with. For me though I was really looking forward to seeing Mickey Rourke crazy things up again with yet another slightly insane acceptance speech.

Ultimately it was Sean Penn, not Rourke, who got the gong for his excellent performance as Harvey Milk. Now I’m not saying Penn didn’t deserve it. On the contrary, Milk was a great film and Penn’s role will live long in the memory I suspect. But am I the only one that just loves the crazyness that Mickey brings to the often staged and insincere PR stunt that is the Oscars?

While the female stars on the red carpet can turn up in all kinds of jaw dropping outfits, with men it’s usually the same old black tuxedo for everyone.But Mickey Rourke went against the grain by showing up in a shabby chic white tux with his shirt open. Of course he also wore his trademark designer sunglasses which have become part of his image in the awards season. Nuttiest of all was Rourke’s “Loki the dead chihuahua” necklace in tribute to his recently deceased pet, which he pointed out to every invterviewer he spoke to!

We were due for another wacky and memorable acceptance speech if Mickey Rourke had got the award.  Who knows what he would have come out with on the stage, chihuahua memorial necklace, glasses and all? I’ll never forget his previous antics at the golden globes. And more recently he brought the house down at the independent Spirit awards the night before the Oscars – see the video above.

I wouldn’t be surprised if there was some political manouvering going on behind the scenes that prevented Rourke from winning. Mickey himself had predicted he woudldn’t win because he’s pissed off too many hollywood hotshots in the past. “I stupidly said acting wasn’t a job for a real man. I threatened producers, raged at directors, forgot my agent’s name. I really burned my bridges. And a lot of people have long memories,” was the eerily accurate prediction from Mickey Rourke before the awards.

Sean Penn does deserve bonus points – he’s never a dull guy and his acceptance speech was interesting to say the least. To begin with his thank-you’s were directed at the Academy, whom he referred to as “commie, homo-loving sons of guns”! Penn then pulled out a small scribbled bit of paper, donned his prescription glasses, and after a few thank-yous proceeded with an impassioned plea for equal rights for gays and against the ban on gay marriages. Not quite as entertaining as Mad Mickey would have been – but better than gushing and thanking his mother for bringing him into this wonderful world.

Meanwhile the Mickey Rourke comeback continues!

An Overview Of Marvel Comics History

This year, Marvel Comics battled for supremacy with DC, with “Iron Man” versus “Batman, The Dark Knight.” Suffice to say, the classic Batman franchise won all the box office glory, becoming the second-highest grossing film of all time, after Titanic. However, Iron Man’s success was hardly something to scoff at, seeing as it was the fifth most successful comic book movie hit (grossing $318,223,785). The “Spiderman” movies were Marvel Comic’s cash cows, setting records as the top three Marvel movies ever made, as well as the three most successful films ever produced by Sony/Columbia. The X-Men franchise captivated audiences and critics with its dazzling special effects, costumes, acting and directing, while showcasing how appropriately a comic book series can compliment new advances in film technology.

Marvel Comics began as Timely Publications in 1939, founded by Martin Goodman who started Western, Mystery and Science Fiction pulp magazine in 1933. Graphic novels were becoming the next hottest thing, so publisher Goodman added an editor, managing editor and business manager and moved into an office on West 42nd Street in New York City. The first publication was Marvel Comics # 1 starring the Human Torch (Carl Burgos) and Namor the Sub-Mariner (Bill Everett). Their real blockbuster comic book series was Joe Simon and legendary Jack Kirby’s Captain America (debuting as “Captain America Comics #1″ in March 1941), which sold nearly 1 million copies!

The bulk of the memorable Marvel Comics came out during the 1960s under Stan Lee’s creative direction, featuring the unique illustrating styles of iconoclastic Jack Kirby and Steve Ditko. X-Men, Thor, Iron Man, Spiderman, The Incredible Hulk and Silver Surfer all emerged during this time. Over the next few decades, Marvel attempted to diversify into other lines intended for more mature audiences. Management shifted, cartoons and films were made, trading cards and merchandise were issued; and so the empire began. In 1991, junk bonds were offered by the owners, putting the company in jeopardy of bankruptcy. After narrowly escaping this dire fate, Marvel Comic creators began diversifying with different offshoots again, with “Ultimate Marvel” (to reinvent their old characters for a new generation), “MAX” (for mature readers) and “Marvel Age” (for younger audiences), which has helped them endure over the years. The success of the “Spiderman” and “X-Men” movies has renewed interest in the Marvel comic publications in recent years too.

Marvel Comics publisher Dan Buckley is looking to the future. He hopes that people will continue reading comic books using new formats like motion comics, as well as cell-phone and iPod comics or downloadable issues. He does worry about the loyal little comic book store owner, though. “We don’t want to do anything to hurt anyone in the short term. We’re still quibbling about what the primary form of revenue will be,” Buckley said, relaying that some comics can be found online for free. So far the internet has been a great promotional tool for the comic book industry.