Showing posts with label Boy. Show all posts
Showing posts with label Boy. Show all posts

Friday, December 12, 2008

The Punisher

First appearance

The Punisher was created by Gerry Conway and his first appearance was illustrated by Ross Andru, at that time the regular writer and artist, respectively, for The Amazing Spider-Man. Conway states he also helped design the character's distinctive costume:

“ In the '70s, when I was writing comics at DC and Marvel, I made it a practice to sketch my own ideas for the costumes of new characters — heroes and villains — which I offered to the artists as a crude suggestion representing the image I had in mind. I had done that with the Punisher at Marvel.[3] ”

Conway had drawn a character with a small death's head skull on one breast. Then-Marvel art director John Romita, Sr. took the basic design, blew the skull up to huge size, taking up most of the character's chest, and added a cartridge bandolier that formed the skull's teeth.

Appearing in Amazing Spider-Man #129 (Feb. 1974), the Punisher was initially an antagonist of Spidey. He was a bloodthirsty vigilante who had no qualms about killing gangsters, something that most superheroes of the time refrained from doing. J. Jonah Jameson described him as "the most newsworthy thing to happen to New York since Boss Tweed". Tricked by the Jackal into attempting to kill Spider-Man,[4] this version of the Punisher was shown as an athletic fighter and a master marksman. All that he would reveal about himself was that he was a former Marine. He had a fierce temper and was engaged in considerable soul-searching as to what was the right thing to do. Spider-Man, who was no stranger to such torment, concluded that the Punisher's problems made his own seem like a "birthday party".

The character was a hit with readers and started to appear on a regular basis, teaming up with both Spider-Man and other heroes such as Captain America and Nightcrawler throughout the 1970s and early 1980s.[5][6][7][8][9][10][11] During his acclaimed run on Daredevil, Writer and artist Frank Miller made use of the character, contrasting his attitudes and version of vigilante action to that of the liberal Daredevil

Friday, March 07, 2008

Ultraman


Ultraman (ウルトラマン Urutoraman?) is a fictional character featured in tokusatsu, or "special effects" television programs. Ultraman made his debut in the tokusatsu SF/kaiju/superhero TV series, Ultraman, a follow-up to the television series Ultra Q. The show was produced by Tsuburaya Productions, and was broadcast on Tokyo Broadcasting System (TBS) from July 17, 1966 to April 9, 1967, with a total of 39 episodes (40, counting the pre-premiere special that aired on July 10, 1966).

Although Ultraman is the first series to feature an Ultra-being, this is actually the second Ultra Series. Ultra Q was the first. A major pop culture phenomenon in Japan, the show has spawned dozens of imitators as well as numerous sequels and remakes, which continue to be popular today.

To distinguish him from subsequent Ultra Warriors, Ultraman is referred to as the original Ultraman (初代ウルトラマン Shodai Urutoraman?), the first Ultraman, Ultraman Hayata (a reference to his host's surname) or as simply Man.

The story

The storyline begins in the near future, as referenced from the mid-1960s. In episode 22, "My Home Is Earth", it is definitively established that the series takes place in the early 1990s, as a plaque shown at the end of the episode displays the current year as being 1993. Sinister aliens and giant monsters constantly threaten civilization during this period. The only Earth organization equipped to handle these disasters is the Science Patrol, a special police force with branches all over the world, and equipped with high-tech weapons and vehicles, as well as extensive scientific and engineering facilities. The branch of the Science Patrol that is focused on in the series is located in Tokyo, Japan. Led by Captain "Cap" Muramatsu (shortened to "Captain Mura" in the dubbed English-language version), the Science Patrol is always ready to protect the Earth from rampaging monsters, but sometimes finds itself overmatched. When the situation becomes desperate, Hayata, the Patrol's most capable member, holds the key to salvation in the form of a power-object called a "Beta Capsule," which, when ignited, allows him to transform secretly into the amazing, super-humanoid-powered giant from space - Ultraman.

While active as Ultraman, Hayata's human body goes into a type of deep coma, reviving only after the threat has been neutralized and Ultraman willingly departs. Victory is never assured, however, as Ultraman's powers - his very life force - comes from rapidly depleted, stored solar energy. At the beginning of each transformation from Hayata-to-Ultraman, the warning light on the giant's chest begins as a steady blue color. Yet as Ultraman exerts himself, the ColorTimer changes to red, then blinks - slowly at first, then with increasing rapidity - as his energy reserves get closer to exhaustion. As the voice-over narration reminds the viewer - beginning with episode 2 and for each episode thereafter - if Ultraman ever reaches the point of total energy depletion, he "will never rise again."

(In Episode 39, Farewell Ultraman), Per the DVD set from BCI Eclipse, in the original subtitled version, Ultraman fights an enemy called Zetton, who employs a weapon Ultraman had not expected--one which damages his ColorTimer and disables his ability to measure his power supply. As a result, Ultraman stays in his form too long and collapses into a dormant state. Fortunately despite this loss, the Science Patrol's members were able to defeat Zetton on their own. When Zoffy, Ultraman's superior, came to retrieve the fallen hero, Ultraman pleads for Hayata's life and offers his life completely, so that Hayata may live as a normal man. Zoffy then says he brought two lives and that he will give one to Hayata. He then separates them, giving Hayata new life, but Hayata seemed to have no memory between the time he first hit Ultraman's ship and his standing outside Patrol HQ as he watched Zoffy take Ultraman home. This is a rather different finish to the series than the English dub which stated Ultraman would return and that Hayata retained his Beta Capsule as he awaited Ultraman's return.

Ultraman's statistics

  • Height: 40 m (130 ft)
  • Weight: 35,000 tons
  • Age: 20,000 Earth years old
  • Flight Speed: Mach 5
  • Jump Ceiling: 800 m (2,600 ft)
  • Running Speed: 450 km/h (280 mph)
  • Swimming Speed: 200 knots (230 mph)
  • Physical Strength: can lift a 100,000-ton tanker (Skydon was twice as heavy)
  • Occupations: Teacher at Space University (Uchū Daigaku?); Chief of Space Garrison Milky Way Office (宇宙警備隊銀河系局 Uchū Keibitai Gingakei Kyoku?)
  • Family Structure:
    • Father: Director of Space Security Board (Uchū Hoan Chō?)
    • Mother: Teacher at Ultra School (Urutora Gakkō?)
  • Human Form: Shin Hayata (host)
  • Transformation Item: Beta Capsule (Bētā Kapuseru?)

Thursday, February 07, 2008

Iron Man


Anthony Stark was born in Long Island, New York. A boy genius, he entered the undergraduate electrical engineering program at MIT at the age of 15 and graduated at the top of his class. At 21, he inherited his father's company, Stark Industries, after his parents were killed in a car accident. One of the first projects was to buy the company that made the faulty brakes on his parents' car and correct the mechanical problem.

In the first version of his origin, Stark was visiting Vietnam (later updated to the Gulf War, and then later updated again to Afghanistan) to observe his new mini-transistors assisting the American war effort. Stark was injured by a booby trap and captured by a Vietnamese warlord named Wong Chu. Dying from a piece of shrapnel lodged in his heart, Stark was ordered to build weapons for Wong Chu, along with a fellow prisoner, the famed physicist Yin Sen (later called Ho Yinsen). However, Stark and Yin Sen used the workshop to secretly design and construct a suit of powered armor — an iron exoskeleton that saved Stark's life by keeping his heart beating. It also gave him tremendous strength which facilitated his escape. Yin Sen sacrificed himself to buy Stark time to charge the bulky suit of armor, and as Iron Man, Stark killed Wong Chu and his men. On the way back, Iron Man encountered a wounded American Air Force helicopter pilot, Jim Rhodes. Iron Man Introduced himself as Stark's bodyguard, and he and Rhodes defended themselves against the pursuing North Vietnamese before returning to American lines. On his return to the U.S., Stark continued to improve the armor, establishing a dual identity as the adventurer and superhero, Iron Man. He also greatly expanded his father's company, Stark Industries, eventually renaming it Stark International.

The cover for Iron Man is that he is Stark's bodyguard and corporate mascot. To that end, Iron Man fights threats to his company, Communist opponents such as the Black Widow, the Crimson Dynamo and the Titanium Man as well as independent villains like the Mandarin. Both the Widow and the Dynamo eventually defect to the United States, and even erstwhile villain Hawkeye, originally a pawn of the Widow, reforms and joins the Avengers. No one suspects Stark of being Iron Man as he cultivates an image as a rich playboy and industrialist. Two notable members of Stark's supporting cast at this point are his personal chauffeur Harold "Happy" Hogan and secretary Virginia "Pepper" Potts, to both of whom he eventually reveals his dual identity. Meanwhile, Jim Rhodes would find his own niche as Stark's personal pilot of extraordinary skill and daring.

The comic took an anti-Communist stance in its early years, which was softened as opposition rose to the Vietnam War. This change evolved in a series of stories with Stark profoundly reconsidering his political opinions and the morality of manufacturing weapons for the military. Stark, however, often shows himself to be occasionally arrogant and willing to let the ends justify the means. This leads to personal conflicts with the people around him, both in his civilian and superhero identities.

Stark has a vast personal fortune, and is also known as a philanthropist. He donates the use of his boyhood manor as Avengers Mansion, and funds the Avengers' operations through the Maria Stark Foundation, a non-profit organization named after his late mother. The Foundation is not linked to any of Stark's businesses, and has continued to operate even when those businesses have failed. Stark also provides technology to other superheroes, including designing various replacement shields for Captain America, the Quinjets used by the Avengers, the image inducers used by the X-Men and Spider-Man's second armored costume.

Eventually, Stark's heart condition was discovered by the public and cured with an artificial heart transplant. However, Stark also developed a serious dependency on alcohol. The first time it became a problem was when Stark discovered that the national security agency S.H.I.E.L.D. had been buying a controlling interest in his company in order to ensure Stark's continued weapons development for them. At the same time, Stark's business rival Justin Hammer hired several supervillains to attack Stark. At one point, the Iron Man armor was even taken over and used to murder a diplomat. Although Iron Man was not immediately under suspicion, Stark was forced to hand the armor over to the authorities. Eventually Stark and Rhodes, who was now his personal pilot and confidant, tracked down and defeated those responsible, although Hammer would return to bedevil Stark again. With the support of his then-girlfriend, Bethany Cabe, his friends and his employees, Stark pulled through these crises and overcame his dependency on alcohol.

Changing fortunes

Iron Man Vol. 1,#1 (May 1968). Cover art by Gene Colan & Frank Giacoia.
Iron Man Vol. 1,#1 (May 1968). Cover art by Gene Colan & Frank Giacoia.

Some time later, a ruthless rival, Obadiah Stane, manipulates him emotionally into a serious relapse. As a result, Stark loses control of Stark International, becomes a homeless vagrant and gives up his armored identity to Rhodes, who becomes the new Iron Man for a lengthy period of time. Eventually, Stark recovers and starts a new company, Circuits Maximus. While Stark concentrates on new technological designs, Rhodes continues to act as Iron Man but steadily grows more aggressive and paranoid. Rhodes's problems are initially thought to be the result of his using armors whose cerebral interfaces are calibrated for Stark's brain, but are later revealed to be purely psychological in nature. Rhodes goes on a rampage, and Stark has to don a prototype suit to stop him. When Circuits Maximus comes under assault from Stane, Stark uses the completed next-generation armor to confront Stane in personal combat. Stark's skill proves superior over Stane's unpracticed use of his own variant suit (known as the Iron Monger) and Stark regains his company when Stane commits suicide rather than be captured.


Armor

See also: Iron Man's armor

Iron Man possesses powered armor that gives him superhuman strength and durability, flight, and an array of weapons. The armor is invented and, with occasional short-term exceptions, worn by Tony Stark, an American industrialist billionaire and military contractor known not only for his lifestyle, but also for his incredible ingenuity and inventive genius. Other people who have assumed the Iron Man identity include long time partner and best friend James Rhodes, close associates Harold "Happy" Hogan, Eddie March, and (briefly) Michael O'Brien.

Iron Man's appearance and abilities have changed over time, as Stark modified and upgraded his equipment, most notably his powered armor. The Iron Man armor was originally grey, but Stark found that this appearance frightened the public, so he spray-painted it gold (Tales of Suspense #40). This bulky armor was changed in Tales of Suspense #48 into a more form-fitting design, sporting a red and gold color scheme that it has mostly retained since. One notable exception is the "Silver Centurion" armor, with a red and silver color scheme, created for use against Obadiah Stane's Iron Monger suit and retained until the end of the first Armor Wars.

Iron Man's powers and abilities derive from the advanced powered armor that he wears. The armor has evolved from a bulky iron suit to a molecularly aligned matrix of crystallized iron enhanced by magnetic fields over layers of other metals like titanium, creating a shell that is pliable, yet capable of great resilience and protection. The suit grants him superhuman strength and flight capabilities, and is powered by a combination of solar converters, electrical batteries and an on-board generator that uses beta particle absorption as a fuel source. The suit is also able to convert nearby energy sources, such as heat or kinetic energy into electricity, or even drain electrical energy directly into the batteries for recharge. Tony also adds jet skates that are now so powerful Iron Man could skate forward towing an entire train behind him. Miniature panes can protect Iron Man's eyes when needed. In addition, the suit can be completely sealed for operations in vacuum or underwater, providing its own life support, and is shielded against radiation.

The onboard systems of the armor are controlled by Tony Stark's brain patterns, read from a cybernetic interface in his helmet. Sophisticated computers with an artificially intelligent operating system of Stark's own design provide tactical information as well as constant feedback on the suit's status, using internal and external sensors. As noted above, Stark has tried to put safeguards in to make sure that the systems do not actually achieve sentience, although these were once circumvented.

Debut of Hydro-Armor: Iron Man Vol. 1,#218 (May 1987). Cover art by Bob Layton.
Debut of Hydro-Armor: Iron Man Vol. 1,#218 (May 1987). Cover art by Bob Layton.

The weapons systems of the suit have evolved over the years, but Iron Man's standard offensive weapons have always been the repulsor rays that are fired from the palms of his gauntlets. Other weapons built into various incarnations of the armor include the uni-beam projector in its chest; pulse bolts that pick up kinetic energy along the way, so that they hit harder the further they have to travel; an electromagnetic pulse generator and an energy shield. Other capabilities include generation of ultra-freon, creating and manipulating of magnetic fields, sonic blasts and a holographic generator to create decoys.

Stark's Extremis armor from cover to New Avengers #18.Art by Steve McNiven.
Stark's Extremis armor from cover to New Avengers #18.
Art by Steve McNiven.

In addition to the general-purpose model he wears, Stark has developed several specialized suits for space travel, deep-sea diving, stealth and other situations. Stark has modified suits like the "Hulkbuster" heavy armor, composed of add-ons to his so-called modular armor, designed to enhance its strength and durability to allow it to take on the Incredible Hulk. A later model designed for use against Thor is modeled on the Destroyer and uses a mystical power source. Stark also develops an electronics pack during the Armor Wars that, when attached to armors that use Stark technology, will burn out those components and render the suit useless. This pack is ineffective on later models, however.

After being critically injured during a battle with the Extremis-enhanced Mallen, Stark injects his nervous system with a modified techno-organic virus (the extremis process) that not only saves his life, but also fuses Stark's armor to his body. This allows him to store the inner layers of the Iron Man armor in the hollows of his bones as well as control it through direct brain impulses. Stark can control the layer of the armor underneath his skin and make it emerge from numerous exit points around his limbs as a gold-colored neural interface under-sheath. While in this form, Stark can control the armor cyberpathically and suit up at any time, even if the armor is 100 miles away. Furthermore, the Extremis process has increased his body's recuperative and healing abilities. He is also able to remotely connect to external communications systems such as satellites, cellular phones, and computers throughout the world. Because the armor's operating system is now directly connected to Stark's nervous system, its response time has been significantly improved. Stark also has a "phera-sense" which he gained by using information he garnered from the analysis of Spider-Man's neurophysiology by the "Spider-Armor" Stark gave him and uses this to not only create his own 'spider-sense' but can also neutralize Spider-Man's and create "false positives" in Spider-Man's spider-sense.

Skills

Apart from the powers granted him by the suit, Stark is an inventive genius while his alcoholism is under control, constantly creating new technology and looking for ways to improve it. This extends to his ingenuity dealing with difficult foes and deathtraps, where he is capable of using his suit in unorthodox and effective ways. He is well-respected in the business world, able to command people's attention when he speaks on economic matters. He is known for the loyalty he commands from and returns to those who work for him, as well as impeccable business ethics. He also strives to be environmentally responsible in his businesses, and in two cases, immediately fired employees who made profitable but illegal sales to Doctor Doom and A.I.M in a safe-guard to prevent lawsuit.


Thursday, January 10, 2008

Aquaman

Golden Age

Aquaman's first origin story was presented in flashback from his debut, narrated by the character himself:

“ The story must start with my father, a famous undersea explorer — if I spoke his name, you would recognize it. My mother died when I was a baby, and he turned to his work of solving the ocean's secrets. His greatest discovery was an ancient city, in the depths where no other diver had ever penetrated. My father believed it was the lost kingdom of Atlantis. He made himself a water-tight home in one of the palaces and lived there, studying the records and devices of the race's marvelous wisdom. From the books and records, he learned ways of teaching me to live under the ocean, drawing oxygen from the water and using all the power of the sea to make me wonderfully strong and swift. By training and a hundred scientific secrets, I became what you see — a human being who lives and thrives under the water. ”
The Golden Age Aquaman communicating with sea life by an ancient Atlantean temple he uses as his lair. Art by Louis Cazeneuve.
The Golden Age Aquaman communicating with sea life by an ancient Atlantean temple he uses as his lair. Art by Louis Cazeneuve.

In his early Golden Age appearances, Aquaman had the ability to breathe underwater and superhuman strength enabling him to swim at high speeds. He was also shown to have the ability to communicate with sea-life and have them do his bidding. Initially, he was depicted as speaking to sea creatures "in their own language," and only when they were close enough to hear him rather than being telepathic in nature. While he was often described as the "sovereign of the sea," with the waters of the entire globe his "domain," and almost every sea creature his "loyal subject," the title was never an official one. Aquaman's adventures took place all across the world, and the only base he appeared to have was "an ancient temple of lost Atlantis, kept underwater," in which he kept a solitary throne[1]

During his wartime adventures, most of Aquaman's foes were Nazi U-boat commanders and various Axis villains. The rest of his adventures in the 1940s and 1950s had him dealing with various sea-based criminals, including modern-day pirates such as his longtime archenemy Black Jack, as well as various threats to aquatic life, shipping lanes, and sailors.

Silver Age

Starting in 1959, Aquaman's backstory and character were revised, with various new supporting characters added and several adjustments made to the character's origins, powers, and persona.

Aquaman, Mera, and Aqualad, as depicted by Nick Cardy in Aquaman #18 (Dec. 1964)
Aquaman, Mera, and Aqualad, as depicted by Nick Cardy in Aquaman #18 (Dec. 1964)

In Adventure Comics #260 (May 1959) and subsequent Silver Age comics, it was revealed that Aquaman was Arthur Curry, the son of Tom Curry, a lighthouse keeper, and Atlanna, a water-breathing outcast from the lost, underwater city of Atlantis. Due to his heritage, Aquaman discovered as a youth that he possessed various superhuman abilities, including the powers of surviving underwater, communication with sea life, and tremendous swimming prowess. Eventually, Arthur decided to use his talents to become the defender of the Earth's oceans, first starting a career as "Aquaboy" and meeting Superboy (Earth's only other superpowered hero at the time) on one occasion (Superboy #171, Jan 1971). When Arthur grew up, he called himself "Aquaman."

It was later revealed (in Aquaman #29) that after Atlanna's death, Tom Curry met and married an ordinary human woman and had a son named Orm Curry, Aquaman's half-brother. Orm grew up as a troubled youth in the shadow of his brother, who constantly bailed him out of trouble with the law. He grew to hate Aquaman not only for the powers that he could never possess but also because he knew that their father would always favor Aquaman. Orm disappeared after becoming an amnesiac and would resurface years later as Aquaman's arch-nemesis, Ocean Master.

By the late 1950s, Aquaman's ability to talk with fish had been expanded to full-fledged telepathic communication with sea creatures even from great distances, but in Adventure Comics #256 (Jan 1959) he was also retroactively given a specific weakness akin to Superman's vulnerability to Kryptonite or Green Lantern's vulnerability to the color yellow: Aquaman had to come into contact with water at least once per hour, or he would die (prior to this story Aquaman could exist both in and out of water indefinitely). This problem was later explained as a characteristic of all Atlanteans .

Allies and foes

Aquaman was included in the Justice League of America comic book series, appearing with the team in their very first adventure in The Brave and the Bold #28 (Feb-Mar 1960). He was a founding member of the team, as shown in a flashback in Justice League of America #9 (Feb 1962). Aquaman took part in most of the 1960s adventures of the superhero team.

With Adventure Comics #269 (Feb 1960), Aquaman's familiar cast of allies and enemies began to grow with the addition of Aqualad, an outcast, orphaned youth from a colony of Atlantis whom Aquaman takes in and begins to mentor. Adventure Comics #264 (Sep 1959) introduced the submerged fictional city of New Venice, which was later revealed to be based in Florida and which also became Aquaman's base of operations for a time in the early 1980s, beginning with World's Finest Comics #263 (Jun-Jul 1980).

Aquaman continued to appear in Adventure Comics until issue #284 (May 1961), when the feature moved to Detective Comics from issues #293-300 (Jul 1961-Feb 1962), then to World's Finest Comics from issues #125-139 (May 1962-Feb 1964). After four tryout issues in bi-monthly Showcase (#30-33, Feb-Aug 1961), Aquaman gained his own series for the first time with the publication of Aquaman #1 (Jan-Feb 1962).

Aquaman eventually met the Atlanteans and became their ally. He was recognized as the son of Atlanna and later voted to be the King after the death of the former regent, who had no heirs. By this time Aquaman had met Mera, a queen from a water-based dimension, and he married her at the same time he was crowned king of Atlantis, Aquaman #18 (Nov-Dec 1964). They soon had a son, Arthur, Jr. (nicknamed "Aquababy") in issue #23 (Sep-Oct 1965).

The 1960s series introduced other such arch-enemies as the Ocean Master (Aquaman's amnesiac half-brother Orm), Black Manta, the Fisherman, the Scavenger, and the terrorist organization known as O.G.R.E. Other recurring members of the Aquaman cast introduced in this series include the well-meaning but annoying Quisp (a water sprite); Dr. Vulko, a trustworthy Atlantean scientist who becomes Aquaman's royal advisor and whom Aquaman eventually appoints to be king after leaving the throne himself; and Tula (known as "Aquagirl"), an Atlantean princess who was Aqualad's primary love interest.

Aquaman in Adventure Comics. Art by Jim Aparo.
Aquaman in Adventure Comics. Art by Jim Aparo.

Most of Aquaman's early Silver Age adventures were written by George Kashdan[2] and Bob Haney, while Nick Cardy took Ramona Fradon's place as the primary Aquaman artist. With Aquaman #40, the writer-artist team of Steve Skeates and Jim Aparo brought new levels of sophistication to the characters and stories.

The original Aquaman series ended with issue #56 (Mar-Apr 1971). Aquaman was given his own feature again in Adventure Comics #435-437, and #441-452, this time as the main feature in most of these issues. The Aquaman series was restarted with issue #57 (Aug-Sep 1977) and ran until issue #63 (Aug-Sep 1978), when it was finally canceled. Aquaman continued to appear in Adventure Comics #460-466, when his feature moved to World's Finest Comics from issues #262-264, and back to Adventure Comics (for the final time) from issues #475-478. Aquaman appeared in a backup feature in Action Comics which he shared with the Atom and Air Wave in various issues. Throughout this time Aquaman also appeared in various series (such as Justice League of America, The Brave and the Bold, World's Finest Comics, and DC Comics Presents) in partnership with other superheroes.

After becoming king of Atlantis, Aquaman began a policy of slowly reintroducing the once-secretive Atlantis to the surface world. After he was briefly ousted from the throne by the Shark (whom he defeated), he made the decision to leave the throne to become a more traditional superhero, and Dr. Vulko was elected as the new king.

End of an era

Eventually, as part of a trap, Aquaman's foe Black Manta kidnapped and ultimately murdered Arthur, Jr. (Adventure Comics #452, Jul-Aug 1977), causing a rift between Aquaman and Mera. They remained married for a few more years and for a while operated out of the submerged city of New Venice, Florida.

In the mid-1980s, after his own feature's demise, Aquaman was briefly made the leader of the Justice League of America. In a storyline told in Justice League of America #228-230, an invasion of Earth by a race of Martians occurred at a time when the core members were missing. Aquaman was thus forced to defend Earth with a League much-depleted in power and capability, and he took it upon himself to disband the JLA altogether in Justice League of America Annual #2 (1984), thereafter reforming it with new bylaws requiring members to give full participation to the League's cases. With the help of a small number of veteran JLA members willing to fully commit to the team, Aquaman recruited and trained four new and untried members, also relocating the team's headquarters to a reinforced bunker in Detroit, Michigan after the destruction of the JLA's satellite headquarters during the invasion. Aquaman's participation in this new version of the Justice League ended in #243 (Oct 1985), when he resigned to work on his marriage with Mera.

Modern Age

The deep-blue camouflage costume. Art by Craig Hamilton.
The deep-blue camouflage costume. Art by Craig Hamilton.

After the 1985 Crisis on Infinite Earths limited series, several short limited series were produced in the late 1980s and early 1990s -- beginning with 1986's, four-issue Aquaman (Feb 1986-May 1986), featuring Aquaman in a new, largely deep-sea blue, costume. The series was well received and a follow up mini series was in the works, though it was eventually canceled due to creative problems. This series also shed some light on the Silver Age version of Aquaman's origin as well as Aquaman's relationship with his half-brother, Ocean Master, whose origin is retold in more complete detail. The series also added new mystical elements to the Aquaman mythos and reinvented Ocean Master as a sorcerer. Aquaman reappeared in his blue costume in the Aquaman Special #1 (1988).

Retelling origins

In 1989, Legend of Aquaman Special (officially titled as Aquaman Special #1 in the comic's legal indicia, the second Special in back-to-back years) rewrote the Sea King's mythos and origin, though keeping most of his Silver Age history intact.

The Modern Age Aquaman is born as Orin to Queen Atlanna and the mysterious wizard Atlan in the Atlantean city of Poseidonis, was abandoned on Mercy Reef as a baby because of his blond hair, which was seen by the superstitious Atlanteans as a sign of a curse they called "the Mark of Kordax." The only individual who spoke up on Orin's behalf was Vulko, a scientist who had no patience for myth or superstition. While his pleas were to no avail, Vulko would later become a close friend and advisor to the young Orin.

As a feral child who raised himself in the wilds of the ocean with only sea creatures to keep him company, Orin was found and taken in by a lighthouse keeper named Arthur Curry who named Orin "Arthur Curry" after himself. One day Orin returned home and found that his adoptive father had disappeared, so he set off on his own. In his early teens, Orin ventured to the far north, where he met and fell in love with an Inupiat girl named Kako. He also first earned the hatred of Orm, the future Ocean Master who was later revealed to be Arthur's half-brother by Atlan and an Inupiat woman. Orin was driven away before he could learn that Kako had become pregnant with his son, Koryak.

Orin then returned to the seas mostly staying out of humanity's sight, until he discovered Poseidonis. He was captured by the city's then-dictatorial government and placed in a prison camp, where he met Vulko, also a prisoner of the state, who taught Orin the language and ways of the Atlanteans. While Orin was there he realized that his mother was also being held captive, but after her death he broke out and fled. Eventually, he made his way to the surface world, where under the name of "Aquaman" he became one of several superheroes emerging into the public view at the time. Upon his return to Poseidonis he was made the king, and sometime later he met and married Mera. The Modern Age Aquaman's history is nearly identical to that of the Silver Age Aquaman from this point on.

As detailed in the five-issue Aquaman limited series (Jun-Oct 1989), which continued a few of the themes from the Special, Mera was eventually driven insane by grief over the death of Arthur, Jr., and was committed to an asylum in Poseidonis. Shortly afterwards, an alien force conquered Atlantis. Arthur was forced to save the city but was hampered by an escaped Mera who personally blamed Arthur for the death of their son. In a fit of rage, Mera left Aquaman's dimension.

The publication of writer Peter David's The Atlantis Chronicles #1-7 (Mar-Sep 1990), which told the story of Atlantis from antediluvian times to Aquaman's birth, successfully revived interest in the character. Significantly, it was in this limited series that the ancient Atlantean characters Orin (whose name was given as Aquaman's Atlantean name) and Atlan (who was revealed to be Aquaman's father) were introduced.

A new Aquaman ongoing series (#1-13) thereafter ran from December 1991 to December 1992, which portrayed Aquaman reluctantly deciding to remain in Poseidonis as its protector once again. For a time, he served as Atlantis' representative to the United Nations but always found himself thrust back into the superhero role. Becoming more and more of a workaholic and solitary figure, Aquaman eventually returned to the oceans. He soon became tangled up in another attempt by Black Manta to destroy Atlantis by dragging it into a war with a surface nation.

Peter David returned to the character in another limited series, Aquaman: Time and Tide, a 1993/1994 four-issue series which further explained Aquaman's origins as he finally learned all about the history of his people through the Atlantis Chronicles (presented as historical texts passed down and updated through the centuries). Aquaman learned that his birth name was Orin and that he and his enemy Ocean Master shared the same father, "an ancient Atlantean wizard" called Atlan. This revelation sent Orin into a bout of rage and depression, setting the stage for later confrontations between the two, as it was said that "two brothers will also battle for control of Atlantis". (The Silver Age Aquaman had always known that the Ocean Master was his half-brother Orm, although Orm's amnesia prevented him from remembering that fact for some time.)

[edit] New direction

The 1990s version of Aquaman. Art by Jim Calafiore.
The 1990s version of Aquaman. Art by Jim Calafiore.

Aquaman received his own series again with the publication of the fifth Aquaman #1 (Aug 1994), initially scripted by Peter David, following up on his Aquaman: Time and Tide limited series. This new Aquaman series was the longest-running for the character, lasting until its 75th issue. David left the landmark series after issue #46 (Jul 1998) after working on it for nearly four years.

Soon in Aquaman #2 (Sep 1994), Aquaman lost his left hand when the madman Charybdis stole his ability to communicate with sea life and stuck Arthur's hand into a piranha-infested pool. This caused Aquaman to become somewhat unhinged, and he soon began having prophetic dreams. Soon after, he attached a harpoon spearhead to his left arm in place of his missing hand. This was the start of an entirely new look: the classic orange shirt was discarded for a gladiatorial manica. Forsaking his former clean-cut appearance, Aquaman grew long hair and a longish beard. After the destruction of the harpoon, Aquaman had it replaced with a cybernetic prosthetic from S.T.A.R. Labs. This new harpoon had a retractable reel that he could fully control.

The major storyline, culminating in #25, concerned the Five Lost Cities of Atlantis. Facing an unearthly invading species linked to the origin of the Atlanteans, Aquaman had to search out and unite the lost cities. This storyline established him as a true Warrior King, and he became a major political power. The remainder of the Peter David run was about Orin coming to terms with his genetic heritage and his role as a king.

After a brief stint by Dan Abnett and Andy Lanning, David was replaced as writer by Erik Larsen with issue #50 (Dec 1998). Larsen's work proved unpopular with readers, however, and with issue #63 (Jan 2000) he was replaced by Dan Jurgens, who saw the series through to its cancellation with issue #75 (Jan 2001).

Aquaman had rejoined the JLA when it reformed and remained an active member of that team until the Our Worlds at War event, during which Aquaman and the city of Poseidonis disappeared and were presumed to be destroyed. The JLA later discovered that Poseidonis and its inhabitants were taken into the ancient past by a powerful Atlantean sorceress named Gamemnae. The people of Poseidonis were made slaves by their Atlantean ancestors, and Aquaman himself was transformed into living water and imprisoned in an ornamental pool.

After a few months of their time — but fully fifteen years for the Atlanteans — the JLA freed Aquaman in "The Obsidian Age" storyline in JLA #66-75 (Jul 2002-Jan 2003), and Poseidonis and its people were returned to the present by the JLA, though not before Aquaman was forced to sink ancient Atlantis.

[edit] Back to basics

2003 series' initial look by Yvel Guichet.
2003 series' initial look by Yvel Guichet.

A sixth Aquaman series began shortly afterwards, initially written by Rick Veitch who sought to take Aquaman in a more mystical direction. Subsequent writers who contributed to the series include John Ostrander, Will Pfeifer, and John Arcudi. This series ran from issue #1 (Feb 2003) to #39 (Apr 2006) when it was renamed Aquaman: Sword of Atlantis (see below).

As shown in this series, Aquaman's decision to sink ancient Atlantis caused displeasure among some of the city's citizens, and Arthur was once again driven out of Poseidonis. He spent some time in Ireland, where he met the Lady of the Lake, who gave him a new prosthetic hand composed of mystical water with unusual properties. From there he returned to his more traditional look: orange shirt, short hair, and beardless.

Back to traditional look. Art by Alan Davis.
Back to traditional look. Art by Alan Davis.

Later, Aquaman went to San Diego after a massive earthquake plunged half the city into the Pacific Ocean. He soon discovered that the survivors of the catastrophe were able to breathe underwater and began helping them to rebuild the submerged portion of the city they now called "Sub Diego".

During this time, Aquaman picked up a new sidekick named Lorena, who eventually became the new Aquagirl. For a time, it appeared that Aquaman might reconcile with Mera, as he attempted to take her to the surface in order to save her from the Atlantean mages who had transformed her into an air-breather.

Shortly thereafter, during the Infinite Crisis event, Atlantis was destroyed by the Spectre, and many of its citizens were killed, including Aquaman's son Koryak and his oldest friend (and father figure), Vulko. Aquaman led the survivors to Sub Diego in the hope that the two displaced peoples could help each other. When Black Manta attacked the sunken city, Aquaman defeated him and left him for dead, surrounded by carnivorous fish (it was later revealed that Manta survived, although it remains unclear whether Aquaman intended his death).

Aquaman made a brief appearance at the memorial for Superboy in 52. With Aquaman #40 (May 2006), the series was renamed Aquaman: Sword of Atlantis and taken in an entirely different direction by writer Kurt Busiek.

Batman

Years later, Stick would send her to aid the X-Man Wolverine, at a time when he had been physically and mentally regressed to a bestial form. She helped retrain him to the point where he could think and vocalize as a human once more, and spent time with him thereafter as he returned to his normal form, including taking him with her on a return to her ancestral home.

Early years

Batman debuted in Detective Comics #27 (May 1939). Cover art by Bob Kane.
Batman debuted in Detective Comics #27 (May 1939). Cover art by Bob Kane.

The first Batman story, "The Case of the Chemical Syndicate," was published in Detective Comics #27 (May 1939). Finger said, "Batman was originally written in the style of the pulps"[14] and this influence was evident with Batman showing little remorse over killing or maiming criminals and was not above using firearms. Batman proved a hit character, and he received his own solo title in 1940, while continuing to star in Detective Comics. By that time, National was the top-selling and most influential publisher in the industry; Batman and the company's other major hero, Superman, were the cornerstones of the company's success.[15] The two characters were featured side-by-side as the stars of World's Finest Comics, which was originally titled World's Best Comics when it debuted in fall 1940. Creators including Jerry Robinson and Dick Sprang also worked on the strips during this period.

Over the course of the first few Batman strips elements were added to the character and Kane's artistic depiction of Batman evolved. Kane noted within six issues he drew the character's jaw more pronounced and lengthened the ears on the costume; "About a year later he was almost the full figure, my mature Batman," Kane said.[16] Batman's characteristic utility belt was introduced in Detective Comics #29 (July 1939), followed by the batarang and the first bat-themed vehicle in #31 (September 1939), and the character's origin was revealed in #33 (November 1939). The early pulp-influenced portrayal of Batman started to soften in Detective Comics #38 in 1940 with the introduction of Robin, Batman's kid sidekick.[17] Robin was introduced based on Finger's suggestion Batman needed a "Watson" with whom Batman could talk.[18] Sales nearly doubled, despite Kane's preference for a solo Batman, and it sparked a proliferation of "kid sidekicks."[19] The first issue of Batman was notable not only for introducing two of his most persistent antagonists, the Joker and Catwoman, but for one of the stories in the issue where Batman shoots some monstrous giants to death. That story prompted editor Whitney Ellsworth to issue a decree that the character could no longer kill or use a gun.[20] By 1942 the writers and artists behind the Batman comics had established most of the basic elements of the Batman mythos.[21] In the years following World War II, DC Comics "adopted a postwar editorial direction that increasingly de-emphasized social commentary in favor of lighthearted juvenile fantasy." The impact of this editorial approach was evident in Batman comics of the postwar period; removed from the "bleak and menacing world" of the strips of the early 1940s, Batman was instead portrayed as a respectable citizen and paternal figure that inhabited a "bright and colorful" environment.[22]

1950-1963

Batman was one of the few superhero characters to be continuously published as interest in the genre waned during the 1950s. In the story "The Mightiest Team In the World" in Superman #76 (June 1952), Batman teams up with Superman for the first time and the pair discovers each other's secret identity.[23] Following the success of this story, World's Finest Comics was revamped so it featured stories starring both heroes together, instead of the separate Batman and Superman features that had been running before.[24] The team-up of the characters was "a financial success in an era when those were few and far between;"[25] this series of stories ran until the book's cancellation in 1986.

Batman comics were among those criticized when the comic book industry came under scrutiny with the publication of psychologist Fredric Wertham's book Seduction of the Innocent in 1954. Wertham's thesis was that children imitated crimes committed in comic books, and that these works corrupt the morals of the youth. Wertham criticized Batman comics for their supposed homosexual overtones and argued that Batman and Robin were portrayed as lovers.[26] Wertham's criticisms raised a public outcry during the 1950s, eventually leading to the establishment of the Comics Code Authority. The tendency towards a "sunnier Batman" in the postwar years intensified after the introduction of the Comics Code.[27] It has also been suggested by scholars that the characters of Batwoman (in 1956) and Bat-Girl (in 1961) were introduced in part to refute the allegation that Batman and Robin were gay, and the stories took on a campier, lighter feel.[28]

In the late 1950 Batman stories gradually become more science fiction-oriented, an attempt at mimicking the success of other DC characters that had dabbled in the genre.[29] New characters such as Batwoman, Ace the Bat-Hound, and Bat-Mite were introduced. Batman has adventures involving either odd transformations or dealing with bizarre space aliens. In 1960, Batman debuted as a member of the Justice League of America in The Brave and the Bold #28 (February 1960) and went on to appear in several Justice League comic series starting later that same year.

"New Look" Batman and camp

By 1964, sales on Batman titles had fallen drastically; Bob Kane noted that as a result "[DC was] planning to kill Batman off altogether."[30] Editor Julius Schwartz was soon assigned to the Batman titles and presided over drastic changes. Beginning with 1964's Detective Comics #327 (May 1964) — cover-billed as the "New Look" — Schwartz introduced changes designed to make Batman more contemporary and return him to more detective-oriented stories, including a redesign of Batman's equipment, the Batmobile, and his costume (introducing the yellow ellipse behind the costume's bat-insignia), and brought in artist Carmine Infantino to help in this makeover. The space aliens and characters of the 1950s such as Batwoman, Ace, and Bat-Mite were retired. Batman's erstwhile butler Alfred was killed and replaced with Aunt Harriet, who came to live with Bruce Wayne and Dick Grayson.[31]

Batman #227 (Dec. 1970). An example of Batman's return to a Gothic atmosphere, in an homage to the cover of 1939's Detective Comics #31. Art by Neal Adams.
Batman #227 (Dec. 1970). An example of Batman's return to a Gothic atmosphere, in an homage to the cover of 1939's Detective Comics #31.[32] Art by Neal Adams.

The debut of the Batman television series in 1966 had a profound influence on the character. The success of the series increased sales throughout the comic book industry, and Batman reached a circulation of close to 900,000 copies.[33] Elements such as the character of Batgirl and the show's campy nature were introduced into the comics; the series also initiated the return of Alfred. Although both the comics and TV show were successful for a time, the camp approach eventually wore thin and the show was canceled in 1968. In the aftermath the Batman comics themselves lost popularity once again. As Julius Schwartz noted, "When the television show was a success, I was asked to be campy, and of course when the show faded, so did the comic books."[34]

Starting in 1969, writer Dennis O'Neil and artist Neal Adams made a deliberate effort to distance Batman from the campy portrayal of the 1960s TV series and to return the character to his roots as a "grim avenger of the night."[35] O'Neil said his idea was "simply to take it back to where it started. I went to the DC library and read some of the early stories. I tried to get a sense of what Kane and Finger were after."[36] O'Neil and Adams first collaborated on the story "The Secret of the Waiting Graves" (Detective Comics #395, Jan. 1970). Few stories were true collaborations between O'Neil, Adams, Schwartz, and inker Dick Giordano, and in actuality these men were mixed and matched with various other creators during the 1970s; nevertheless the influence of their work was "tremendous."[37] Giordano said, "We went back to a grimmer, darker Batman, and I think that's why these stories did so well . . . Even today we're still using Neal's Batman with the long flowing cape and the pointy ears."[38] While the work of O'Neil and Adams was popular with fans, the acclaim did little to help declining sales; the same held true with a similarly acclaimed run by writer Steve Englehart and penciler Marshall Rogers in Detective Comics #471-476 (Aug. 1977 - April 1978), which went on to influence the 1989 movie Batman and be adapted for the 1990s animated series.[39] Regardless, circulation continued to drop through the 1970s and 1980s, hitting an all-time low in 1985.[40]

The Dark Knight Returns and modern Batman (1986-present)

The first issue of Batman: The Dark Knight Returns, which redefined Batman in the 1980s. Pencils by Frank Miller.
The first issue of Batman: The Dark Knight Returns, which redefined Batman in the 1980s. Pencils by Frank Miller.

Frank Miller's 1986 limited series Batman: The Dark Knight Returns, which tells the story of a 50-year-old Batman coming out of retirement in a possible future, reinvigorated the character. The Dark Knight Returns was a financial success and has since become one of the medium's most noted touchstones.[41] The series also sparked a major resurgence in the character's popularity.[42] That year Dennis O'Neil took over as editor of the Batman titles and set the template for the portrayal of Batman following DC's status quo-altering miniseries Crisis on Infinite Earths. O'Neil operated under the assumption that he was hired to revamp the character and as a result tried to instill a different tone in the books than had gone before.[43] One outcome of this new approach was the "Year One" storyline in Batman #404-407 (Feb.-May 1987), where Frank Miller and artist David Mazzucchelli redefined the character's origins. Writer Alan Moore and artist Brian Bolland continued this dark trend with 1988's 48-page one-shot Batman: The Killing Joke, in which the Joker, attempting to drive Commissioner Gordon insane, cripples Gordon's daughter Barbara, and then kidnaps and tortures the commissioner, physically and psychologically.

The Batman comics garnered major attention in 1988 when DC Comics created a 900 number for readers to call to vote on whether Jason Todd, the second Robin, lived or died. Voters decided in favor of Jason's death by a narrow margin of 28 votes (see Batman: A Death in the Family).[44] The following year drew more attention to the character, due to the release of the feature 1989 film Batman. In addition to the film's multimillion dollar gross and millions more generated in merchandising, the first issue of Legends of the Dark Knight, the first new solo Batman title in nearly fifty years, sold close to a million copies.[45] 1993's "Knightfall" arc introduces a new villain, Bane, who critically injures Batman. Jean-Paul Valley, known as Azrael, is called upon to wear the Batsuit during Bruce Wayne's convalescence. Writers Doug Moench, Chuck Dixon, and Alan Grant worked on the Batman titles during "Knightfall" and would also contribute to other Batman crossovers throughout the 1990s. 1998's "Cataclysm" storyline served as the precursor to 1999's "No Man's Land", a year-long storyline that ran through all the Batman-related titles dealing with the effects of an earthquake-ravaged Gotham City. At the conclusion of "No Man's Land" O'Neil stepped down as editor and was replaced by Bob Schreck. In 2003, writer Jeph Loeb and artist Jim Lee began a 12-issue run on Batman. Lee's first regular comic book work in nearly a decade, the series became #1 on the Diamond Comic Distributors sales chart for the first time since Batman #500 (Oct. 1993). Lee then teamed with Frank Miller on All-Star Batman and Robin, which debuted with the best-selling issue in 2005,[46] as well as the highest sales in the industry since 2003.[47] Batman was featured in major roles in DC's 2005 company-wide crossover Identity Crisis and 2006's Infinite Crisis. Starting in 2006, the regular writers on Batman and Detective Comics were Grant Morrison and Paul Dini, respectively.

Bruce Wayne

In his secret identity, Batman is Bruce Wayne, a wealthy businessman who lives in Gotham City. Like Superman, the prominent persona of Batman's dual identities varies with time. Modern-age comics have tended to portray "Bruce Wayne" as the facade, with "Batman" as the truer representation of his personality (in counterpoint to the post-Crisis Superman, whose "Clark Kent" persona is the 'real' personality, and "Superman" is the act).

To the world at large, Bruce Wayne is often seen as an irresponsible, superficial playboy who lives off his family's personal fortune (amassed when Bruce's family invested in Gotham real estate before the city was a bustling metropolis) and the profits of Wayne Enterprises, a major private technology firm that he inherits. However, Wayne is also known for his contributions to charity, notably through his Wayne Foundation charity.[72] Bruce creates the playboy public persona to aid in throwing off suspicion of his secret identity, often acting dim-witted and self-absorbed to further the act.

Skills, abilities, and resources

Unlike many superheroes, Batman has no superpowers and instead relies on "his own scientific knowledge, detective skills, and athletic prowess."[73] Batman is physically at the peak of human ability in dozens of areas, notably martial arts, acrobatics, strength, and escape artistry. Intellectually, he is just as peerless; Batman is one of the world's greatest scientists, engineers, criminologists, and tacticians, as well as a master of disguise, often gathering information under the identity of Matches Malone. He is regarded as one of the DC Universe's greatest detectives. Rather than simply outfighting his opponents, Batman often uses cunning and planning to outwit them. In Grant Morrison's first storyline in JLA, Superman describes Batman as "the most dangerous man on Earth," able to defeat a team of superpowered aliens all by himself in order to rescue his imprisoned teammates.[74]

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