Tag Archives: Green Lantern

Genre Blending

Remember when superhero movies were just becoming a thing? They usually fell into the same pattern: someone gets powers and saves the world. Fairly straight forward, right? Sure, there were different approaches to the idea: X-Men drew on themes of discrimination and Spider-Man was about a hero trying to balance life and superheroing. The Dark Knight, Watchmen, and The Incredibles deconstructed several tropes associated with the genre, and Iron Man and The Incredibles reconstructed a deal of them (yep, The Incredibles did both). But at the end of the day, all of them were, for the most part, variations on a theme.

Then Thor rolled around. While, yes, it was still about a superhero saving the world, the film and character were approached like a fantasy film in the vein of The Lord of the Rings rather than an out-and-out ‘superhero film.’ The result was a movie that felt very different from, say, Iron Man. Suddenly the superhero genre had expanded. Thor wasn’t just about a normal guy getting powers; it was about a fantastical superhuman progressing through the hero’s journey in a blend of fantasy and reality.

A few months later Captain America: The First Avenger came out, transplanting a superhero movie into a period piece (like The Incredibles!). Unlike The Incredibles, though, The First Avenger fully embraced its time period: World War II. Just as Thor crossed into fantasy, this film blended the a war movie with superhero tropes. Yes, The First Avenger still has all the hallmarks of the superhero film, but it’s hardly a strict superhero movie. We have a superhero who’s more like a commando (or is it the other way round?). Similarly, X-Men: First Class (also released in the Summer of 2011) took place in the ‘60s, keeping its discrimination subtext and mixing it with Cold War imagery.

Which brings me to The Winter Soldier, the trailer of which just dropped (if you haven’t seen it, go now!). The new Captain America movie seems to be, like The First Avenger before it, dispensing with a lot of ‘classic’ superhero tropes. If anything, The Winter Soldier is shaping up to be more like a political thriller in the vein of Patriot Games or The Bourne Identity rather than Iron Man. Yes, it’s still a movie about Captain America and there is an evil looking villain; but Blade Runner has androids and it’s not Star Wars. It’s not solely a film of one genre.

As a genre, superhero movies, like science fiction and fantasy before it, are rapidly becoming far more diverse with their subject matter. The Avengers drew some aspects from war movies, Man Of Steel focused its central theme not on Superman vs Zod but on the question of Superman’s identity. Of course, this doesn’t always go so well; Green Lantern tried to create a space opera and, well, failed miserably. So what did Green Lantern do wrong? Does space opera simply not work with superheroes? No, Green Lantern was a reminder that blending genres isn’t enough: you always need a good story.

Fun thing is, this trend shows no sign of stopping. Upcoming Thor: The Dark World is still a fantasy (directed by some Game of Thrones alum, no less), Guardians of the Galaxy is looking to be Marvel’s attempt at a space opera, and Ant-Man is gonna be an Edgar Wright film. Why is this so important? Folks, we’re watching a genre develop.

 

Short post? Yes. Why? I’m working on a short film this weekend. I’m busy. Heck, I hardly have time to go out and watch movies.

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Thrilling Heroics

Every boy has his favorite superhero. Doesn’t matter if they’ve never read a comic; pop cultural osmosis will take care of that. Growing up, my favorites were Batman and Iron Man. My brother was a Spider-Man fan. I’ve got a buddy who loved Green Lantern and another who liked Robin. But why is it that we love heroes (super or not)? Whether they’re named Tony Stark, Luke Skywalker, Frodo Baggins, Buffy Summers, or Atticus Finch, we have our heroes. But why? Why do we love having heroes in fiction?

Barring the rare invincible abnormality like Superman (in which case you’d need emotional tension to… that’s another essay for another day), heroes have a risk of death. Sure, we’re sure (well, kinda sure if it’s written by Joss Whedon) they’ll survive, but there’s that potential. Towards the end of Mass Effect 3, Commander Shepard’s armor has been destroyed and half-melted, but still our hero presses on, blood dripping from his wounds, in a final desperate attempt to save the galaxy. This is Shepard: the living legend who defended the Citadel from Sovereign, halted a Collector invasion, and united the races of the galaxy for the first time in millennia of history. He’s been augmented with cybernetics and carries enough firepower to take on a small army. Yet even he bleeds. Great, a lot of heroes get the crap beaten our of them. So what?

It proves they’re human! We love the everyman, the hero we can relate to. When creating Uncharted, Naughty Dog chose to stray from the trend of super-soldiers and overconfident protagonists and give us a fairly ordinary man dressed in a simple shirt and jeans: Nathan Drake. He’s a wisecracking smartass who spends as much time stumbling and falling as he does fighting bad guys. Drake’s snarky and funny, amusing us as he fumbles (sorry, improvises) his way through his adventures. It doesn’t take much to see that his bravado and bluster is just him trying to build himself up: an a attempt to steel himself for the perils that await. But he feels fear, he feels desperation. When Drake sees his friends get hurt his courage falters and we see the man within, we see ourselves. We like him because we’re like him. Drake isn’t that much different from us: he’s who we hope we’d be if we were in his spot, albeit wittier.

Similarly, Peter Parker, more so than most other superheroes, is terribly ordinary. He’s a teenager in high school striving for good grades and trying to win the heart of his girl. And he’s got spider-like powers. Nonetheless, he’s every one of us back in high school. Marc Webb captured this so well in The Amazing Spider-Man by introducing us to Peter the boy first. We get to know him before his powers, with his powers, and then when he finally calls himself Spider-Man. We’re not following the story of Spider-Man the superhero, we’re following story of this kid named Peter Parker. Even when he’s ‘officially’ a superhero, he’s still not invulnerable. Multiple times Peter shows up after a night of crime fighting battered, bruised, and bloodied. He’s just a teenage boy trying to do what’s right.

That’s the crux of our heroes. We want to know they’re vulnerable, we like them human (or at least mostly), but we want to see them do what’s right. We want our heroes to get beaten up and choose to go on because we hope that were we in their spot we would have the strength to continue. As an audience, we’re normal, powerless in our situations. None of us would stand a chance against the Reapers, Zoran Lazerevic, or the Lizard. But then, neither would Shepard, Drake, or Spider-Man were it not for their circumstances. Maybe, and just maybe, that could be us.

Our heroes aren’t perfect and invincible. Underneath the Iron Man armor is a middle-aged man on the brink of death. Green Lantern is just a guy with a fancy ring. Captain America was an earnest runt given a once-in-a-lifetime chance. The only difference between us and our heroes are our positions.

“I write to give myself strength. I write to be the characters that I am not. I write to explore all the things I’m afraid of,” said Joss Whedon once. In these heroes, super or not, we find our strength. We see our weaknesses and fallings mirrored, but more than that we see them overcome it for the sake of good. The exhausted Sam carries Frodo up the side of Mount Doom. Atticus Finch risks his standing in the community to do what’s right. Luke Skywalker refuses to strike down Darth Vader.

No matter how hurt or broken our heroes are, they choose to do the right thing, to carry on and fight again.

And we hope that we can too.

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