Sam Raimi Tobey Maguire Spider-Man 4

What if Sam Raimi’s Spider-Man 4 Happened Today?

Good morning, everyone! Today I’m just sharing a post I made on Screen Rant. Since Spider-Mania is in the air once again, with Spider-Man: Homecoming aiming to break box office records next week, I thought this would be a fun time to do a “What If?” piece relating to the old Sam Raimi/Tobey Maguire films.

Raimi’s Spider-Man movies are classics, and so I wanted to dive in and imagine a scenario wherein the original crew would come back, just one last time, to make a Logan-like Spider-Man 4. What would such a movie look like? Well, here are my thoughts.

Spider-Man 4: 15 Things We’d Love To See If A Raimi/Maguire Sequel Ever Happened

Sam Raimi Tobey Maguire Spider-Man 4

There’s no overstating the importance of Sam Raimi’s Spider-Man movies. Blade may have unlocked the door, and Bryan Singer’s X-Men cracked it open, but 2002’s Spider-Man was the record-breaking blockbuster that blew the door off its hinges, causing the flood of superhero movies that hasn’t ceased in the fifteen years since. Though it’s now been a decade since the arrival of Spider-Man 3 — a film which, while financially successful, was widely considered something of a letdown compared to the still beloved Spider-Man 2 — the legacy of Raimi’s lucrative series is still felt today.

Soon, Marvel Studios will be lighting up theaters across the world with its MCU-based Spider-Man: Homecoming. While that movie will almost certainly be a smashing success, let’s dream for a moment: theoretically, what if the success of Homecoming convinced Sony to get Sam Raimi and Tobey Maguire together again one last time, to finally create the worthwhile conclusion that the old series deserves? Continue reading on ScreenRant.com.

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In Comics, Reboots Aren’t Always a Bad Thing

Here’s a controversial idea to throw out there, which many may totally disagree with: what if the two major comic book universes rebooted every five to ten years? Planned reboots. Total reboots.

Let me explain.

Walter White Breaking Bad

Remember  Breaking Bad? Great show, right? And what made it great was that when it started, you knew it was going somewhere—and then, when it got there, the finale was everything we ever could have hoped for. All of the seeds that were planted in the first season paid off in a huge way, so that fans felt rewarded for having embarked on Walter White’s journey.  Throughout Breaking Bad, we saw one man become something entirely different than what he was at the start, and it was believable. Unlike so many popular TV shows, which run too long and thus lose the very things that made them great in the first place—I’m looking at you, House MD—Breaking Bad had a five season plan, stuck to it, and was thus the perfect picture of how to tell a great serialized story.

You know why Breaking Bad was such a great story?  Because it was planned. Because it had an ending.

What if American comic books could tell stories the same way?

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What I’m proposing is simple. First, let’s clean the slate. Start all of the various superheroes fresh, right from the beginning—totally fresh, with no carryovers, no “some parts of continuity are still valid but not others,” none of that.

And then, once the clean slate is established, we start with a brand new comic book universe — let’s call it “World One” — and we set an END DATE.  For the sake of argument, let’s say five years, six years, whatever. So this means that World One has five years to play out.

And then, once writers are assigned to their various characters, let’s allow those storylines to play out with total freedom. This allows characters to grow, change, die, be reinvented, or what have you. Also, when the universe does reset, we don’t need to do some cataclysmic end of the universe crossover: we just need to say that we’re moving onto the next universe.

Consider the advantages of this.

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Let’s say that when World One starts, the writer assigned to Wolverine begins by depicting the Weapon X storyline. That writer then has the freedom to, during their five year reign over the character, bring Wolverine from that point all the way to being an old man, ala Logan. Alternatively, they might decide that they want to have this version of Wolverine take the place of Xavier, leading a new team of X-Men. Or, they may want to have this Wolverine sacrifice himself to save the world from Apocalypse. In a planned universe with an end date, all of these things are possible.

The stakes would be heightened. Individual events would matter. Characters would be free to change, grow, evolve.

If comic universes operated on a five-six-or-however-many-years year plan, all of these options would be open, and comic book deaths would have meaning again. If the World One version of Wolverine died, he would stay dead. The World Two version of Wolverine, whenever he appeared, would be an entirely new writer’s vision of the character.

Batman Begins

Because the end of World One was planned from the beginning, there’d be no feeling of betrayal when it ended. This is the problem with most reboots. When The Amazing Spider-Man rebooted Sam Raimi’s Spider-Man movies, it caused an uproar of negativity that the new series never quite recovered from, and this was because the old trilogy still had a lot of fans who were expecting a Spider-Man 4, never thinking that Spider-Man 3 was the ending. In contrast, a planned reboot wouldn’t stab the old fans in the back, because everyone would already know it was coming. The third part of Christopher Nolan’s Dark Knight trilogy was, from the outset, promoted as the end of the series. This left the door open for a new film interpretation of Batman to enter the door in a few years, without trampling on Nolan’s legacy.

Look, I love comic books, especially Marvel. As I’ve written before, I credit superheroes—especially Spider-Man—with helping me come out of my shy shell as a kid, and I’ve retained my love of them into adulthood.  The characters that Marvel and DC comics have brought to the world are iconic, and that’s why they’re now lighting up the silver screen and bringing in billions of dollars.

But let’s face it, comic continuity is a mess. Storylines can’t be shocking or exciting when they always, always revert to the status quo. Planned reboots would be different, because each reboot would herald the beginning of a new story. If a fan loves one version, they get to have that version. If they hate it, well, they can just wait for the next time around.

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Planned reboots would allow characters to have endings. Consider the impact of this year’s Logan: the reason that movie was so heartbreaking was because we knew it was the end of Hugh Jackman’s character. There might be a new Wolverine someday, sure, but at least we got a chance to say goodbye to the old one. Endings matter.

Endings are important, because endings are what gives a story deeper meaning. Without an ending, a story is forever unresolved.

We all know that the biggest American comic books out there aren’t ever going to end permanently: there’s too much money to be lost if Superman is suddenly gone forever, no more issues, done. But with planned reboots, an individual version of Superman could end, could be a complete, satisfying story. In a few years, the comic would still get to continue, without trampling on the work of the previous writer.

Would it work? Who knows. I’d imagine this might not be the most popular solution for the comic book continuity quagmire. But personally, I think it’d be worth trying out.

 

 

 

 

Doctor Doom Victor Von Doom fan film Marvel Fantastic Four Ivan Kander

The “Von Doom” Fan Film Reveals the Doctor Doom We’ve All Been Waiting for

Superhero films may have taken over the multiplex, and characters both A-list and B-list may have become household names, but there’s arguably one major Marvel Comics character whose legacy on film has been mistreated more than any other: Victor Von Doom, better known by the title Doctor Doom.

Famous Marvel Comics writer Stan Lee, who co-created almost all of the Marvel Universe, has long said that Doctor Doom is his favorite villain. While the Joker has catapulted to the #1 spot on most supervillain lists thanks to a long line of fantastic film and animated adaptations, Doctor Doom is a character who has long been held by many comic book enthusiasts as the greatest comic book supervillain of all time. Doom is a complex figure whose mythology combines science fiction and sorcery; he’s a vain man pained by a dark past, a tortured soul who believes himself to be the hero, believes that he could save the world if only everyone accepted him as their leader. His story is epic, tragic, one of the most developed in all of comics.

What Doom is not, and never has been, is the obnoxious, greedy businessman that he was portrayed as in the 2005 Fantastic Four movie, or whatever weird stuff they were trying to do with him in the 2015 reboot. While villains like Magneto and Loki have risen to prominence due to excellent film adaptations, there has never been a proper, faithful cinematic depiction of Doctor Doom.

Doctor Doom Victor Von Doom fan film Marvel Fantastic Four Ivan Kander

Well, until now. Thanks to filmmaker Ivan Kander, there is now a fan film named Von Doom available online, that does for Doom what 20th Century Fox has failed to do. Gritty, epic, and faithful to the comics, Von Doom may be only 14 minutes, but it’s the best 14 minutes that Doom has ever had on film. Using time travel as a plot device, it tells the story of Doom’s tragic origins, as a young boy in the small Eastern European country of Latveria, and his young adult self’s attempt to combine magic and science in an effort to change the past. Don’t be wary of the fact that it’s a fan film, either: like Truth in Journalism, the Venom fan-film that I reviewed back in 2013, this is quality stuff. But don’t just take my word for it: check it out below.

(And after you do, continue reading my thoughts, right below the video!)

Now, this film isn’t perfect. It’s too short to get as deep as I’d love for it to,  and the budget is lower than a studio production would be. But what really shines here is that Ivan Kander really understands Doom’s personality, really gets what makes the character iconic, and even came up with a clever way to frame Doom’s story in a way that could fit three periods of his life within such a short runtime.

I’d love to see what Ivan Kander could come up with for a full length studio production, but even in the absence of that, Von Doom contains a lot of lessons that 20th Century Fox should pay attention to, if they ever want to utilize one of their biggest properties in a way that will not only befit the character’s legacy, but also get fans into theaters. To me, these are the biggest takeaways from Von Doom, and how it could influence future films:

1. The Origin Really, Really Matters

Doctor Doom Victor Von Doom fan film Marvel Fantastic Four Ivan Kander origin story

Both Fantastic Four franchises to date have completely ignored Victor Von Doom’s comic book back story, and both have also totally destroyed the character as a result.  That’s because Doom’s origins aren’t some throwaway reference, and tying them to the Fantastic Four’s origins is a mistake. Victor Von Doom’s childhood tragedies are as important to his character development as Magneto’s Holocaust origins are to him, and if you tamper with the story, you lose the character.

Doom’s back story is epic in scope. You can’t just pay lip service to Latveria and expect fans to be happy, because the character is Latveria. Victor Von Doom began as a poor boy in a poverty-stricken country, fled to the United States, became a brilliant scientist, and then came home as a revolutionary, ready to overthrow the authoritarian government that had enslaved and brutalized his people. Now, this doesn’t change the fact that Von Doom is also an authoritarian himself — the people of Latveria might be safe beneath his rule, but they certainly aren’t free — however, the complexity here is what makes the character interesting.

You Need Science AND Magic to Make a Proper Doctor Doom

Victor Von Doom Doctor Doom fan film origin story latveria Ivan Kander Marvel Fantastic Four

Doctor Doom, the armored figure that Victor Von Doom is destined to become, might seem at first like a purely science fiction character. He’s a brilliant scientist, he attacks his opponents with armies of robots, he uses life model decoys. But what Von Doom really gets right, from the very beginning, is that Doctor Doom’s interest and skills in the mystical arts are also a huge component of the character.

Some of Doctor Doom’s best stories involve him relying purely on magic, and he’s listed as one of the most powerful sorcerers in the Marvel Universe. Sure, the whole magic thing doesn’t fit into the wacky sci-fi high jinks that define the Fantastic Four, but there’s a solution for that…

Make Doom the Protagonist of His Own Film

Victor Von Doom Doctor Doom fan film origin story latveria Ivan Kander Marvel Fantastic Four experiment

Seriously, if there’s anything that the Von Doom short film proves, it’s this: Doctor Doom works better as a protagonist, instead of being squeezed into a Fantastic Four movie. That doesn’t mean he’s a hero, but he thinks he’s a hero, and a character as complex as Doom deserves center stage.

The bad writing that Doctor Doom has suffered from in the Fantastic Four movies is at least partially because both films have unsuccessfully tried to tie Doom into the Four’s origin story, and it’s a bad fit. While Doom is linked to Reed Richards, and despises him, much of his actual character arc is largely independent of those four blue-costumed heroes. Doom has gotten into blows with most of Marvel’s heroes, but those battles aren’t really his focus. In the grander scheme of the Marvel Universe, he’s a well known dictator who has diplomatic immunity when he visits other countries, and thus can’t be arrested. He’s not just a foil for the heroes.

No, Doctor Doom deserves his own movie. A Doctor Doom film could tell the story of Victor Von Doom’s rise, fall, and subsequent rise. It could tell the story of his exile from Latveria, his mastery of science and magic, and then his return as a man in a metal mask. Again, Doom can be the protagonist without being a hero. A film that focused on Doom, and only on Doom, could have an epic narrative similar to Batman Begins.

If the film needs a villain, then Ivan Kander’s Von Doom proposes a terrific solution, through the use of time travel: use Victor as both the hero and the villain. Pit the younger Victor against the older Doctor Doom. There are lots of ways to make this work, and the Fantastic Four aren’t necessary for it. They can have their own new reboot — preferably one which has them battle against, say, the Mole Man —  and Doom can meet up with them in a sequel, if need be. But not yet.

 Get the Personality Right

Doctor Doom Marvel Victor Von Doom Fantastic Four Stan Lee

And finally, here’s another big one. Doom’s personality has to be right. He’s not a psychopath, not a cocky businessman who tells dumb jokes, none of that. The character as depicted in Von Doom is Doom as he should be.

Again, Doom doesn’t see himself as a villain. As far as he’s concerned, he’s the hero of the story, and he’s in a constant struggle to do the right thing, to take the path that he believes will make the world a better place. Doom has flaws, but insanity isn’t one of them. He’s arrogant, vain, and haughty. But he’s also a character that viewers should, at least on some level, want to root for — a character whom we should be saddened by when he starts making decisions that we know to be immoral, even if he is too stubborn to see it.

A solo Doctor Doom movie is a blockbuster success waiting to happen, and if the studios ever decide to pursue it, then Von Doom should be their primary inspiration.

Luke Cage: The Real World Hero for Our Times

The most impactful image in Marvel’s Luke Cage — the shot that lingers afterward, cutting straight to the core of what the series is trying to say — isn’t an explosion, an alien invasion, nor even a scene of super-powered fisticuffs. No, it’s something much less fantastic, but far more important.

This scene comes near the end of its first season, the entirety of which has been on Netflix for a few weeks now. As comic fans know, Luke’s primary superpower is his rock hard skin, an epidermis so powerful that it can repels bullets; however, since his cotton and denim clothing doesn’t possess the same magical properties, his many confrontations with Harlem’s criminals tend to leave all his hoodies, jackets, and t-shirts riddled with bullet holes. So when the police go out in search of Luke, they hunt the streets for a tall black man with a bullet-holed hoodie — only to find that many people in the Harlem community have begun wearing hoodies riddled with holes, as a sign of solidarity toward their misunderstood hero.  One man, as the police drive by, even holds open his holey hoodie to them, to show that he’s not afraid. It’s a brief moment, but an unforgettable one.

Method Man, who has a brief guest role in the series, says shortly afterward that, “Bulletproof always gonna come second to being black…there’s something powerful about seeing a black man, who’s bulletproof, and unafraid.”

Luke Cage bulletproof

There’s no question about how much Luke Cage resonates in today’s world. The fact that the main character wears a hoodie is a direct reference to Trayvon Martin, and the show’s star, Mike Colter, has stated on a few occasions that this is due to “the idea that a black man in a hoodie isn’t necessarily a threat. He might just be a hero.” It’s clear just how much the showrunners deeply care about the issues they’re confronting, and they aren’t afraid to make powerful statements about the racial tensions, systemic racism, and inequality that exists within the United States today, and has always existed since the country’s inception.

Luke Cage is an amazing series, due to its combination of bold themes, fantastic writing, and great direction. A lot of what really makes it work, though, comes down to the title character. As played by Mike Colter, Luke is smart, confident, and charming, but also subtle, reserved, and soft spoken. He’s a good guy who doesn’t want the glory of being a hero, but nonetheless ends up being the big brother that Harlem wants him to be.

Luke Cage and Pop in Harlem

There’s a truly honest connection that Luke has to the show’s depiction of Harlem, in a way that goes beyond the other heroes in the Marvel Universe, who are more like celebrities than next door neighbors. While Daredevil foiling Fisk might land his name in the papers, and Jessica Jones’s heroic exploits might earn her more business as a private investigator, Luke has no superhero identity, no cape, no mask — especially not by the end of the series, when his old life as Carl Lucas, escaped prisoner of Seagate Penitentiary, is brought back into the public eye. Luke is who he is. He must actively deal with his increasingly important role in the day-to-day life of Harlem, whether he’s helping a neighbor out of a jam, giving a eulogy for a friend, or getting blamed for somebody’s busted window. All of it feels astoundingly real, grounded, and relatable. If there was a superhero in the real world, he or she would probably be a lot like Luke Cage, and we’d be lucky to have someone like him around.

Openly political, cerebral, featuring an almost entirely black cast and centered around a black hero, Luke Cage is one of the boldest shows of the year, and possibly the boldest project that Marvel Studios has ever done.

ScreenRant.com: 12 Things You Need to Know About Red Hood

In this blog, my writing often dabbles in a lot of different areas: sometimes I write about my novels, other times I talk about my coffee obsessions. I write about today’s world, healthcare, travel blogs, books, movies, comics, and more; whatever grabs me on a given day. But as far as comics and movies go, I’m excited to reveal I’m now going to be writing about them for Screen Rant!

My first article for them, a Batman feature named 12 Things You Need to Know About Red Hood, can be found here on ScreenRant.com. In it, I discuss Batman’s former-Robin-turned-enemy the Red Hood, who rumor has it may be part of the storyline in the next Batman movie.

Also, check out my profile page on Screen Rant to see a listing of articles I’ve written for them (which at the moment is just this first one, of course). Cheers, and I hope you all had a great weekend!

12 Things You Need to Know About Red Hood

Unlike most Batman villains, who are largely motivated by personal gain, the Red Hood is out for what he believes to be justice. Employing militaristic tactics such as bombs, rocket launchers, and firearms, the Red Hood takes control of multiple criminal gangs, and uses these gangs to wage war against the crime lord Black Mask. He takes his vengeance on the Joker, and beats him nearly to death just as the Joker did to him years ago — only sparing the villain’s life for the sake of using him against Batman later on.

It is in his handling of the Joker that the deeply personal nature of Jason’s hatred of Batman is truly unveiled: Jason feels betrayed because Batman never killed the Joker. The former Robin can’t believe that Batman allowed the killer to go on living. To make his point, Jason kidnaps the Joker, holds him at gunpoint, and forces Batman to choose between either killing his former partner, or allowing that partner to kill his archenemy. Batman escapes from this choice through the use of his batarang (and the Joker’s use of nearby explosives), and Jason disappears.

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How Captain America: Civil War Nailed What Makes Spider-Man Great

As a Spider-Man fan, it’s been a tough decade. After crawling to the top of the world with the unprecedented success of the first two Sam Raimi movies, Spider-Man enjoyed a brief moment as the world’s favorite superhero; a huge victory for a character usually defined by being the awkward weirdo of the superhero table, and just as much of a victory for those of us who always loved him for it. However, the fallout from Spider-Man 3 — which wasn’t terrible, really, but didn’t come close to Spider-Man 2 — was the first blow. The fall terminated in a ridiculous editorially mandated reboot called One More Day (and followed by the equally wrongheaded Brand New Day), an ugly stain on the comic book mythos that has yet to be erased.

All this, combined with the less-than-enormous response to the two Amazing Spider-Man movies (which also weren’t so bad), and, well… something’s been missing.

Until now.

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Captain America: Civil War has a lot to recommend it. Ever since Marvel Studios first launched, this is probably the best movie they’ve ever done; it’s not quite the genre-defining blast that Marvel’s The Avengers was, but it is definitely a game changer. The conflict between Captain America and Iron Man is real, visceral, and painful to watch, in a movie that isn’t afraid to dramatically alter the status quo of Marvel’s cinematic landscape. And amazingly enough, Spider-Man is one of the best parts.

Why? Because they actually got Spider-Man right. He’s only in two scenes, but he’s the shining moment of both of them. And boy, is it wonderful to see the real Spidey again.

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The comic book Spidey hasn’t really felt like himself since Brand New Day, and though I wasn’t a fan of the deterministic totem elements of the JMS run, JMS’s take on Peter’s non-superhero life was something to be applauded: I’ll take JMS’s high school science teacher version of Peter over the corporate “Parker Industries” Peter any day. What makes Spidey great is his social and economic normalcy, how real his life is, how he’s an everyday awkward human being that can get evicted, lose his job, or be late on bills, instead of a larger-than-life superhero. While I liked the two Amazing Spider-Man movies far more than I expected, they also focused too much on determinism instead of chance: too much focus  was put on genius scientist parents, and this focus undermined the fact that Peter’s role as Spider-Man is accidental, luck (or bad luck) of the draw.

The Spidey that we meet in Civil War is still young, only six months into his superhero career. But from the moment that Tom Holland, our new Spider-Man, first appears on the screen — walking through a lower income apartment complex with an old DVD player in hand — we know that we’re in for something special.

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I think it’s too early to call Tom the best Spider-Man, since he’s only had a few scenes to show what he can do. For now, Tobey Maguire’s amazing performance in Spider-Man 2 is still the pinnacle, and Andrew Garfield did a good job as well.  But in the few scenes Tom has, he nails it. He becomes Peter Parker in the flesh, and I think it’s very likely that by the time he gets center stage in his own film, he might very easily become the best Spider-Man we’ve ever seen. His portrayal combines the joyous sense of humor, the enthusiasm, the human quality, and the heart. He takes the best aspects from both prior Peter Parker actors and melds them into his own interpretation.

“When you can do the things that I can, but you don’t… and then the bad things happen, they happen because of you.” – Peter Parker, to Tony Stark

The scene where Peter meets Tony Stark is a masterwork in how to establish a three dimensional character in only a few minutes of screen time. Within one scene, we find out that Peter Parker is a poor kid in Queens, a dumpster diver. He’s quick-witted, smart, and funny, but definitely a dork. But most important is the quote above, the young Peter’s shy callback to his Uncle Ben’s famous mantra. This Peter is an awkward, clever kid with a big heart, who just wants to do the right thing.

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When Captain America tells Peter “You got heart, kid”, he nails exactly what the movie itself gets right about Spider-Man. Spidey is a character whose mythology is all about heart. Spider-Man isn’t about darkness, shadows, secret agents, or epic conflicts. Tragedies are important to his narrative, but only as important as they are to our own narratives in real life. Just as us regular people lose our loved ones, just as we feel guilty over every loss, so does Peter. When Stan Lee had Peter age, go to the college, get a job, and get married, it worked — because Peter is a normal person, in a way that other superheroes are not, and the balance between his normal life and his superheroic exploits should never be undone for the sake of a shocking twist.

The struggle for balance between Peter and Spider-Man’s lives, separate and yet unified, is exactly what made Spider-Man 2 so terrific. That’s the movie that the upcoming Spider-Man: Homecoming should look to for inspiration.

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What makes Spider-Man such an iconic figure is his normalcy. He’s a regular person trying to do the right thing. A nerdy kid from Queens, with a big heart, a big brain, a mouth that tends to run in circles when he gets nervous.

In Civil War, Marvel Studios shows us a glimmer of what makes Spider-Man great. As long as they don’t lose sight of that uniqueness, as long as they remember who the character is, then Spider-Man: Homecoming should be something truly special.

 

The Shadow Hero: Rebirth of the Green Turtle

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When comic books first birthed the concept of a “superhero” in the late 1930s, the floodgates opened, and dozens upon dozens of masked avengers entered the scene.  Many of these, such as Captain America, Batman and the Flash, are still around today and making splashes in pop culture.  Others faded into obscurity, and one of these lost heroes was a character named the Green Turtle, who was never very popular and disappeared after only five issues. Until 2014, the Green Turtle seemed lost to the sands of time, a relic forgotten even by comic buffs.

Not anymore.  Thanks to Gene Luen Yang and Sonny Liew’s intriguing graphic novel The Shadow Hero, the Green Turtle is back, and his reintroduction to the scene is an important landmark in comics history.

The back story is this: in the 1940s, Chinese American comic creator Chu Hing created the Green Turtle.  According to urban legend, Hing wanted his character to be the first Chinese American superhero, but his publisher vetoed the idea, and demanded that the Green Turtle be Caucasian.  In response, Hing purposely illustrated his comics in such a way that the Green Turtle’s face was always obscured; the character’s back was often to the camera, and if he was facing forward, then something was always blocking his face.  This way, Hing could maintain the Turtle’s real ethnicity without ever revealing it.

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It’s a crazy story, but a believable one: when reading the original Green Turtle comics, one of which is included with The Shadow Hero, the constant props and angles that obscure the character’s face seem far too intentional to be a coincidence.

In The Shadow Hero, what Yang and Liew have done is reintroduce the character by telling his heretofore unrevealed origin story.  In the process, the Shadow Hero also does in the contemporary era what the character’s creator was not allowed to do in the 1940s, and permanently establishes the Green Turtle as North America’s first Asian American superhero.

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Why is this important?

Easy: because even though American superhero comic books have often taken on social issues—see the classic “drug issues” of Amazing Spider-Man, or the recent Superman comic on police brutality—one thing that American comics are lacking in is diversity.  Sure, there’s a your Black Panthers, your War Machines and your Jubilees, as well as your occasional Northstars (and now Icemans).  But most of these characters tend to be sidekicks or members of teams, and rarely receive the solo spotlight.  The majority of superheroes—and heroines, and villains—are all white, and that’s something that doesn’t reflect properly society.

Part of what makes this important is that superheroes are, at their core, childhood role models—Spider-Man was such a huge part of my childhood—and it isn’t fair to children who aren’t white that all of the major superheroes are Caucasian. There should be superheroes, not just sidekicks, of every race, sexual orientation, and background of origin.

It’s important for comic books to have more racial diversity; the movies have dealt with this by recasting traditionally white characters with actors of other races, such as Michael B. Jordan playing the Human Torch and Samuel Jackson’s now-iconic performance as Nick Fury.   Marvel Comics has recently taken the initiative by having new characters take on the roles of its most classic superheroes, with Falcon becoming Captain America and Jane Foster becoming Thor, but the inherent difficulty in this solution is that the minority characters are functioning as secondary versions of the primary ones.

For true diversity, we can’t just create fill-ins for the original characters.  We need new ones.

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For comics to truly embrace diversity, we need new, unique characters that can form their own legacy, instead of simply complementing the legacy of another character.  The Green Turtle, while not technically “new,”  fulfills this role.  With the new back story that has been created for him, the Green Turtle is a strong, interesting new character that broadens the scope of comic books, playing into themes that have been inherent in the medium since the beginning, while also bringing something new to the field, creating a character that has a remarkably different background, power and goals from any other superhero out there.

Even more significantly, while the Green Turtle’s racial/immigrant background is a part of the character, it doesn’t define him.  What defines Hank Chu, the Green Turtle’s alter ego, is his choices, his strong morals, his love for his family.  He’s a character that’s easy for anyone to identify with.

Personally, I’d love to see The Shadow Hero get brought to a wider audience in the form of a movie, though I suppose that’s some time off.  Still…

As far as the storyline itself, The Shadow Hero is excellent.  It tells the story of 19-year-old Hank Chu, the hardworking son of Chinese immigrants, who lives a simple life and idolizes his father.  When his mother is rescued by a superhero and pushes Hank to become one as well, but it isn’t until tragedy strikes — and his father’s shady backroom dealings are revealed — that Hank embraces his destiny and becomes the Green Turtle.

The Shadow Hero is simultaneously touching and lighthearted, capturing the tone of 1940s comic books while adding in the depth of contemporary stories.  It’s an incredibly heartfelt comic, sometimes tongue-in-cheek but always sincere, with likeable characters and a flawed-but-worthy hero.  One can truly sense the passion that fueled this comic’s creation, and just how much love was poured into it.

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It’s a book with a lot of heart, and it’s wonderfully unafraid of wearing it on its sleeve.  Superheroes have always been closely tied to immigration; ever since Kal-El rocketed down to Kansas, superheroes have always told stories about people who are outside the norm, immigrants from strange places and other worlds, many of them created by first generation Jewish Americans.  The Shadow Hero connects the genre to its past while steering forward in new directions, creating a beautiful, unique gem that is a must-read for all comic fans.

I highly recommend The Shadow Hero. Now that the Green Turtle has been brought back from the abyss, I hope to see much more of him.