File Name: the real truth about superman and the rest of us too by mark waid .zip
With stealth and no small amount of cowardice, the Greeks creep out of their strange gift, a large wooden horse, under the cover of night and safely within the locked city walls.
Rather than face Aeneas and the Trojans as men in battle, the Greeks unlock the gates, letting their murderous comrades in, and proceed to slaughter women and children wantonly. To almost all present, it seems the end of the Trojan civilization. Even Venus, the goddess of Love, and the mother of the great warrior and leader Aeneas, despairs. The new city, Rome, would become the eternal city.
It can be forgotten, ignored, or even perverted, but it could never fully cease to exist. For truth to cease to exist, the world would cease to exist.
Instead, almost buried, the truth can be replanted in new soil. And, though the wheat will grow with the tares, the wheat will still grow, waiting to be fed, watered, protected, and, ultimately, harvested.
Almost nineteen centuries after the siege of Troy, Representative John Quincy Adams stood in New York City and praised the first president of the United States, who had earned the reputation of being a new Cato the Younger, a new Aeneas, and a new Cincinnatus. In his speech, Adams invoked the image of the first president of the United States as the Virgilian hero, but with a vitally important twist. With almost perfect harmony, Adams mythologized Washington by combining the Virgilian, Stoic heroism as embodied by The Aeneid with the admonitions of St.
Paul to arm oneself with the weaponry of Christ in the fight against evil. Driven by the romantic impulse as found most recently in the arguments and writings of Edmund Burke, many in the nineteenth century reacted strongly to the dry, calculated liberalism and utilitarianism of the eighteenth century by embracing myth.
Many of these myths proved specifically nationalist, providing a glue for the emerging nation states of that century. One can find the most blatant of the nationalist myths in Finland and in Germany. In Germany, both Richard Wagner and Friedrich Nietzsche attempted to create a uniquely German myth by paganizing the origin and character of the emerging nation state. But what is this German?
Oh heavens! It should have a soil, this German! I should be able to find my people! What glorious people it ought to become. I [revolution] will destroy every wrong which has power over men. I will destroy the domination of one over the other, of the dead over the living, of the material over the spiritual, I will shatter the power of the mighty, of the law of property.
Let there be an end to the wrong that gives one man power over millions. Wagner successfully combined these two things—universal socialism and a pure German character according his lights —in his four-part grand opera, The Ring. Inspired by an era earlier than the then nineteenth-century divide between Lutheran north and Catholic south, Wagner embraced the pre-Judeo-Christian pagan myth of the Ring of the Niebelung and the Scandinavian Poetic Edda and the Volsunga, portraying the gods to be malicious and manipulative fools who deserved death.
In the original, the trickster god of chaos, Loki, successfully leads a second generation of gods, along with the frost and fire giants, in rebellion against the first generation of gods. The sun turns black, earth sinks into the sea, the brightest stars vanish from the sky, steam rises up in the conflagration, a high flame plays against heaven itself.
But, the golden age is not all that seems, for death shall arise quickly. Then the powerful, mighty one, he who rules over everything, will come from above, to the judgement-place of the gods. There comes the dark dragon flying, The shining serpent, up from Dark-of-moon Hills; Nidhogg [the dragon] flies over the plain, in his wings He carries corpses; now she must sink down. The pagan end, ironically, has far more in common with St. Though he came to disagree with Wagner on many things, Friedrich Nietzsche, already briefly discussed in chapter two, also sought to reclaim a pagan world.
In his Beyond Good and Evil, Nietzsche describes the need, as he sees it, to destroy the myth of Christianity, but not to destroy myth and religion altogether. Christianity, according to Nietzsche, has only increased the suffering of the world.
The former has served as nothing but a shackle, while the latter will liberate the true man. Nietzsche himself believed that his ideas had taken him, mystically, into another universe or plane of existence, confirmed later, by a vision of Zarathustra, a pre-Christian Persian priest and prophet, within and next to him. Matthew, Mark, Luke, and John. Simultaneously, a number of mythmakers of the nineteenth century sought a universalist myth, transcending the limitations and particulars of the nation state or a particular race or people.
It especially influenced the upper-crust of the antebellum American South. For all intents and purposes, Natty is the American Frontier.
In the same vein, Englishmen, such as Alfred Lord Tennyson and William Morris, embraced a universal myth of western civilization, often portraying England as its greatest manifestation. The king, the poem continues, has enjoyed life and suffered greatly. Should myth claim to be particular or universal?
Should it embrace the particular at the expense of the universal, or should it proclaim the universal at the expense of the particular? Certainly, the conflict was a strong one, and, more often than not, our memory of nineteenth century myth tends to be that which glorifies the particular and, generally, that means an inordinate love of the barbarian and the nationalist.
In the twentieth century, the romantics turned to a blatant universalism. The story moves from despair to hope to despair and back to hope. The hope comes not from Alfred, but from the Mother of God, who appears as a symbol of Grace to give warning, guidance, and inspiration.
But, even with victory, there appears at the end of the Ballad, a prophecy of coming darkness. Men such as Nietzsche would play with the Word, thus distorting our image of It. The Welshman, David Jones, explored the meanings of western civilization in his art and poetry by drawing upon the works of J. Tolkien and Christopher Dawson. In turn, figures such as T. Eliot, W. His most famous poem, Anathemata, attempted to find a liturgy, or theology of history within western and world civilization, and the poet incorporated history, archeology, and anthropology in his heavily footnoted mythopoeic study.
Equally important, Jones believed that man, at his most fundamental level, is a maker and creator. He, therefore, has within him a vital sacramentality, allowing him to make and understand words and signs. Eliot toys with our all-too-comfortable notions of time and eternity. And, in the middle of his playing, he arrives at the same point as Chesterton did. Nothing good or right or virtuous is possible without Grace. Without that Grace, nothing but evil is possible.
Such Grace allows us to escape the tyranny of the seasonal cycles. Though no where near the quality of the previous figures mentioned in this chapter, but a mythmaker in her own right and by her sheer overwhelming popularity, British writer J. Rowling has also embraced a universal understanding of the human person.
While the earlier volumes of the Harry Potter series contain a number of Christian symbols—the blood of the unicorn giving life or death depending on the state of the partaker; a phoenix named Fawkes—the sixth and seventh volumes, Harry Potter and the Half-Blood Prince and Harry Potter and Deathly Hallows, hold the most Christian discussion of any of the books.
Rowling also draws heavily on Northern, Greek, and Middle-eastern myth and language, and many Christian critiques have complained that Rowling presents a world that is seemingly Gnostic and dualistic: the good and the evil seem equal. But, digging deeper, especially with the character of the greatest wizard, Dumbledore, we find a subtle but profound revision of the simple dualism of good and evil. In volume six, the reader discovers find that love transcends magic.
Robert Hugh Benson, a controversial convert to Roman Catholicism at the turn of the previous century, wrote what might be regarded as the first modern dystopian book, The Lord of the World. To maintain control, the Mason-Communists introduce a secularized version of the Catholic mass, so that the people can worship the community.
It moved around no disputable points; there was no possibility of divergent political tendencies to mar its success, no over-insistence on citizenship, labor, and the rest, for those who were secretly individualistic and idle. Life was the one fount and center of it all, clad in the gorgeous robes of ancient worship. It was Positivism of a kind, Catholicism without Christianity, Humanity worship without its inadequacy.
It was not man that worshipped but the Idea of man, deprived of his supernatural principle. Sacrifice, too, was recognized—the instinct of oblation without the demand made by transcendent Holiness upon the blood-guiltiness of man. Desiring complete control of the world, the Mason-Communists decide to destroy Rome, the last bastion of Roman Catholicism and medieval aristocracy. Airships drop city-cracker bombs, devastating Rome, and a new pope flees into the Syrian desert.
Other horrifying visions of utopian follies soon appeared. A love of nature keeps no factories busy. In , journalist George Orwell published the most famous science-fiction novel ever written, Unlike the superficially sanitary world of Brave New World, the world of has an utterly grim feel to it. The three powers of the world constantly war with one another, the secret police attempt to monitor everything, and food shortages are the norm.
Ray Bradbury wrote some of the best dystopian literature and science fiction in the United States. While Fahrenheit , the story of firemen who search out and burn books, remains a favorite among most Americans, The Martian Chronicles is, arguably, an even better piece of literature. The story follows the American invasion of Mars over a twenty-seven year period in the early twenty-first century.
The Martians are a classical, aesthetic, peaceful, and philosophical people, living in relative harmony with nature, science, and religion. As the Europeans did to the American Indians, the Americans bring with them disease, devastating most of the Martian population. In the main, the Americans only want to exploit what they find on Mars.
Caring little for the artistic beauties of the Martian cities or the Martian landscape, they litter, they loot, build superhighways, and string telephone wires across the planet. We Earth Men have a talent for ruining big, beautiful things. And Egypt is a small part of Earth But here, this whole thing is ancient and different, and we have to set down somewhere and start fouling it up.
By the end of the novel, in the year , the exploitation of man by man becomes too great on earth, and the powers of the planet destroy everything in an atomic war. Only a few remain on Mars. One survivor laments:. I was honest and they hated me for it. Life on Earth never settled down to doing anything very good.
Science ran too far ahead of too quickly, and the people got lost in a mechanical wilderness, like children making over pretty things, gadgets, helicopters, rockets; emphasizing the wrong items, emphasizing machines instead of how to run the machines.
With stealth and no small amount of cowardice, the Greeks creep out of their strange gift, a large wooden horse, under the cover of night and safely within the locked city walls. Rather than face Aeneas and the Trojans as men in battle, the Greeks unlock the gates, letting their murderous comrades in, and proceed to slaughter women and children wantonly. To almost all present, it seems the end of the Trojan civilization. Even Venus, the goddess of Love, and the mother of the great warrior and leader Aeneas, despairs. The new city, Rome, would become the eternal city. It can be forgotten, ignored, or even perverted, but it could never fully cease to exist. For truth to cease to exist, the world would cease to exist.
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Superheroes, Social Responsibility, and the Metaphor of Gods in Mark Waid and Alex Ross's The Real Truth about Superman: And the Rest of Us Too. Mark.
Politics, mostly. And American empire. Are Batman and Superman allies or rivals, at their core? For long stretches, particularly when the characters were new, they had a deeply chummy relationship, with Batman like a non-superpowered Superman — a lesser, but cheerful, do-gooder who also fought for truth, justice, and the American way. It was kind of adorable, with Batman almost acting like a kid who smilingly looked up on his star-athlete older brother.
A revised and improved version of this essay is in my book Sci-Ence! Justice Leak! The lates miniseries The Kingdom , by writer Mark Waid and various artists, was absolutely slated by fans when it came out, and is not remembered fondly. But the main reason for the hatred of the admittedly-patchy series was that its storyline actually a good one, which we will come on to in a bit existed to introduce into DC continuity a concept called Hypertime. The existence of hypertime was the big revelation at the end, and was an idea that Waid took from his friend and frequent collaborator Grant Morrison.
Barry Allen. The death of Barry left Wally the fastest man alive--and the new Flash. Waid continued to work on Wally West for nearly a decade, building a world that would keep the. Issue 2. Book Two.
Sideburns Eddie is not my Eddie. Batman 24 will be a sort of recap and wrap-up of the run so far, with a cliffhanger that leads into "The War of Jokes and Riddles. Not saying you're wrong, but if there is I haven't heard of it. I always saw The Riddler as a skinny guy. You would think Joker and Riddler would split days on who gets Batman. Isn't Riddle sometimes written to have some sort of complex related to women?
the heroes is one of the subjects of Mark Waid and Alex Ross's miniseries 3 Waid/Ross , p. The Real Truth about Superman: And the Rest of Us Too.
Dive into this classic tale of Robins gone wrong with the Renegade Robins club all March long. Harleen Quinzel has discovered a revolutionary cure for the madness of Gotham City-she just needs to prove it actually works. But with the criminal justice and mental health establishments united against her, the brilliant young psychologist must take drastic measures to save Gotham from itself.
It has been reissued in eBook format, with no editorial changes, in Entertainment Inc. I wish I could remember and acknowledge every one of them. Below, a few who I can remember and whose help has been particularly valuable in preparing this book.
Сьюзан… Сьюзан… И в этот момент она все поняла. Дрожащей рукой она дотянулась до панели и набрала шифр. S…U…Z…A…N И в то же мгновение дверца лифта открылась.
Он заставил Джаббу вмонтировать в ТРАНСТЕКСТ переключатель системы Сквозь строй, чтобы отключить фильтры в случае, если такое повторится. - Господи Иисусе.
Задействованная ею программа была написана на языке программирования Лимбо, который не был его специальностью. Но ему хватило одного взгляда, чтобы понять: никакая это не диагностика. Хейл мог понять смысл лишь двух слов. Но этого было достаточно.
Дэвид только что позвонил Стратмору и рассказал о немецком туристе. Новость не обрадовала коммандера. Выслушав подробности, он долго молчал.
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