Showing posts with label Spider-Man. Show all posts
Showing posts with label Spider-Man. Show all posts

Wednesday, September 11, 2024

10 Great Action/Adventure Cartoon Theme Songs

 There have been a lot of really catchy cartoon theme songs over the decades. Here are ten from American action/adventure cartoons (that call is debatable, but I wanted to exclude strictly comedic ones like The Flintstones, for example) that I think one could make a good case for being among the best. Here they are in chronological order.


Jonny Quest (1964)
Trey:
This fast-paced, Space Age jazzy number composed by Hoyt Curtin really says action and speaks strongly of the era when it was recorded. According to Curtin in a 1999 interview, the band used for the sessions was a jazz ensemble with four trumpets, six trombones, five woodwind doublers, and a five-man rhythm section including percussion. It stands among the greatest theme songs of all time, period. 

Jason: I agree completely, but I must confess I can only regard this banger (and everything before 1985 on this list) through an obscuring mist of nostalgia. Coupled with the attractively Alex Toth-designed highlight reel of explosive violence and weird mystery, this complex, hyper-condensed piece of music captured my tiny heart from the first bongo beats. How could any TV cartoon series live up to the high bar set in this opening sequence? When I saw the show, it was many years in syndication, and the contrast with the then-current Saturday morning fare was profound. Even the theme music was more grown up!  

Trey: Like the next one on my list, this catchy tune has escaped from the realm of cartoon themes into pop culture in general, being covered many times and even appearing in-universe in Spider-Man films. It was written by lyricist Paul Francis Webster and composer Bob Harris. The music was recorded at RCA Studios, New Yorks, and the vocals at RCA Studios in Toronto (where the cartoon was produced) featuring 12 CBC vocalists (members of the Billy Van Singers, and Laurie Bower Singers groups).

Jason: Here again, I regard this one as immortal and, in any honest evaluation, rank it among my favorite songs of all time by several entirely subjective criteria.  The Ramones version remains my top cover version while the Michael Bublé cover stands unchallenged as my top Michael Bublé song of all time. 

Trey: This bubble-gum pop earworm was written by David Mook and Ben Raleigh, and originally performed by Larry Marks. It's probably the most covered theme on this list.

Jason: It's a perfect piece of pop, quintessentially of its era, and ranks up there aesthetically with any "Sugar Sugar" or "Yummy Yummy Yummy" you'd care to name.  


Super-Friends (1973)
Trey: Another one from Hoyt Curtin, this is a more of a rousing, martial piece. The producers must have known they struck gold, because they kept it for 13 years, changes to narration aside. It is certainly eminently recognizable. I like this remix for a Cartoon Network promo by Michael Kohler, "The Time is Now."

Jason: A stately call to arms for the forces of good!  This type of instrumental-only action show theme song, often characterized by blaring brass sections and delivered with Wagnerian exuberance, practically constitutes a genre unto itself and dates back to the Fleischer Studios Superman shorts from the 1940s.

Trey: In the early 70s, America was in the midst of a "kung fu craze," this show and theme rides that wave. It's short of funky, but also recalls the cliched "Oriental riff" and perhaps borrows a bit of inspiration from Schifrin's theme for Enter the Dragon. Scatman Crothers who voices the main character also sings here.

Jason: That this song is diabolically catchy, I cannot deny. It has stuck with me through long decades during which I neither sought out nor otherwise encountered the source material. 

Trey: This theme is a pure slice of the 80s and credited to the duo that dominated the era, Shuki Levy and Haim Saban. Levy's got a page devoted to his theme work, here.

Jason: MASK marks the spot on the timeline after which I will no longer be buoyed by any shred of nostalgia, having ascended to the snottiest and most dismissive epoch in my extended adolescence. I don't recall ever having heard this before, but I am immediately struck by the Flashdance-adjacent aesthetic.  

Trey: SilverHawks may be a lazy attempt to iterate another hit from the ThunderCats template (see also TigerSharks), but I think it's got a superior theme song to the original. It was composed by Bernard Hoffer who did a lot of work for Rankin-Bass but was nominated for an Emmy for composing the theme used in the PBS News Hour (originally The MacNeil-Lehrer Report).

Jason: The haunting refrain of the title elevates the pop appeal of this theme, while also delivering the first genuine guitar shredding (or is it synthesizer? Or, heaven forfend, keytar?) yet heard in this listing. This is another first listen for me, and the professional craftsmanship is again evident. It's almost like there's a few surefire formulae in this theme song game.

Trey: This iconic instrumental song with a futuristic (in now a very dated way) vibe was credited (as so many 80s and 90s cartoon theme songs were) to Haim Saban and Shuki Levy, but was written by Ron Wasserman who was under contract to Saban at the time. Wasserman says of the composition and recording in a 2022 interview: "I’d learned to play or emulate any instrument so I would have played every part. Just me, a MIDI keyboard, and a computer."

Jason: So iconic I know it, though I don't think I've watched a full episode of this series. While I am enjoying listening through this listing, maybe I'm starting to develop cartoon theme song fatigue at this point. Do I hear a bit of Miami Vice in this ditty, or have I taken leave of my senses?


Teen Titans (2003)
Trey: This was a well-written series with perhaps a deceptively cartoony look. The great power poppish theme song was written and performed by Japanese pop rock duo, Puffy AmiYumi.

Jason: This one I enjoy without resorting to ironic detachment or nostalgia of any kind. There's more than a small debt to Johnny Rivers' "Secret Agent Man," but it's so dang catchy all is forgiven. 

Trey: My daughter loved this show when she was younger, and still revisits it's occasionally. It has a very catchy theme written and performed by Patrick Stump, who Wikipedia tells me is lead vocalist and rhythm guitarist of Fall Out Boy.

Jason: Stump correctly ascertained that a Spidey theme needs to be propulsive enough to communicate the frantic action that will (presumably) follow. It's as good as any post-Fallout Boy emo tune I can currently recall (don't ask how many). Still, good stuff for the kids. Did your daughter enjoy the theme?

Trey: She did and still does!

Tuesday, May 26, 2015

25 Greatest Robots in Comics: Honorable Mentions

25 Greatest Robots in Comics: #25-21 | #20-16 | #15-11 | #10-6 | #5-1 | Honorable Mentions

Relax.  This post isn't really about RoboCop 3.
When I was a student at university, a professor of mine, Dr. John Ower, opened a class by announcing he'd been to the theater to see RoboCop 3 over the weekend and asking if any of us had. The room was predictably silent, given that many students hadn't been to see it and those who had were either too embarrassed or perplexed to admit to it. After a moment, a well-spoken but thoroughly unimaginative peer of mine, a fixture in many of my classes, spoke up, asking with trepidation, "Why do you ask? Is it actually — worth seeing?"

Ower, a glint in his eye, popped a piece of chewing gum and began to talk. The chewing gum was a context clue; Ower had suffered partial paralysis in his face and used gum to keep the saliva flowing as he held court in the classroom. Him unwrapping a piece before his answer told us there was going to be more to this than a capsule review.

Over the next ten minutes he leapt excitedly from the pervasive anxiety over industrialization in 19th-century literature to the idealization and fetishization of efficiency in Germany, explicating how these impulses had sidelined the rhythms of birth of theretofore traditional femininity, putting labor and child-bearing on a schedule. He talked about how these impulses toward mechanization, born of hope for a better future, had instead led to desensitization and images of the masculine and feminine that retained all their fetishized ideals but none of their humanity. (Notice how Robotman and Jocasta have idealized secondary sexual characteristics but no primary ones.) In Germany, they led to a mechanized breeding ground for the S.S.

These were important ideas, Ower explained, that defined our modern world and our place in it. They were no less important when our pop culture grappled with them. Perhaps they're especially important when the movies recognize policework as the battlefield of robopathy and sympathy and action movies as the genre where the tension between machismo and reality is as its greatest. He made an eloquent case, one the increasing cyberneticism of our lives has made more eloquent over time.

It was lost on the guy who asked the question.

But it hasn't been lost on me. I share that story here to make the point there are many different ways to look at stories of robots in our culture. Even the most trivial or cliché-ridden can reveal our anxieties and aspirations. On some level, I doubt there's any insignificant robot story.

With that in mind, let's take a look at some of the automatons who didn't make our recent countdown of the "25 Greatest Robots in Comics." To come up with our countdown, we each rated a list of dozens of 'bots from the comics. These are the ones who scored highest with individual voters but not high enough to break the top 25.

— Scott


First appearance: Scud the Disposable Assassin #1
(February 1994)

Scud the Disposable Assassin


Before Rob Schrab was making sardonic, ironic TV for the Millennial generation, he was making awkwardly sincere indie comics for Generation X.  Scud is the missing link between Ambush Bug and Deadpool — or, to put it in '90s terms, he's Lobo's emo cousin.

First appearance: Atomic Robo #1 (October 2007)

Atomic Robo


Brian Clevinger, Scott Wegener, and company's Atomic Robo will always hold a special place in this blog's heart for proving you can release comics in a digital format and actually make money at it.  From unexpected iPhone smash in 2007-'08 to going digital-first in 2015, Atomic Robo has put the future back into robot comics.

First appearance: Richie Rich #100 (December 1970)

Irona


When we first discussed doing a countdown of the top robots in comics, the Netflix Richie Rich show wasn't on our radar.  Little did we know that by the time we were considering Rosie Irona for our countdown, a Google Image Search on her name would return a plethora of images of actress Brooke Wexler.

First appearance: New Mutants #18 (August 1984)

Warlock
(& Magus & the Technarchy)


Sometimes a hulking, screaming impressionist painting; sometimes a zany living cartoon — Warlock joined the New Mutants as the embodiment of teen angst and isolation married to technology.  He was the perfect harbinger of a generation raised on, inseparable from, and perhaps even infected by technology.

First appearance: Amazing Spider-Man #8 (January 1964)

The Living Brain


Though rarely counted among Spider-Man's most memorable foes (and the Spider-Slayers made our list, guys!), the Living Brain nonetheless has staying power.  With an unforgettable visual that's part Lost in Space and all Steve Ditko, he's hard to leave in mothballs — but maybe it's the '60s-era design that keeps him from coming back in stories as more than a nostalgia trip.

First appearance: Strange Tales #135 (August 1965)

S.H.I.E.L.D. Life Model Decoys


When it comes to plot fodder, S.H.I.E.L.D.'s "life model decoys" (or LMDs) put Superman's and Doctor Doom's stand-in robots to shame.  You'd think a spy organization that had perfected robot duplicates so indistinguishable from the people they supplant would be unbeatable — but the LMDs' realism and undetectability have been a greater liability than they've ever been an asset.  (See, for example, Nick Fury vs. S.H.I.E.L.D.)

- Scott

Wednesday, April 29, 2015

25 Greatest Robots in Comics: Counting Down #15-11

25 Greatest Robots in Comics: #25-21 | #20-16 | #15-11 | #10-6 | #5-1 | Honorable Mentions

Continuing our ongoing celebration of the best robots to grace the pages of comic books, here is our third entry in the series.

15 - Amazo


First appearance: Brave and the Bold #30 (June 1960)

Created by Gardner Fox in 1960, Amazo is one of those rare Justice League villains who predates the actual Justice League of America comic. Created by Professor Ivo, Amazo has the omega-level power of being able to duplicate any hero he comes in contact with. In his first appearance, he defeats the League from the onset, but by the end of the issue, he’s beaten and becomes an addition to the JLA’s trophy room. During the Silver and Bronze Age, he’ll make several appearances (often as a tool to help the heroes regain their lost superpowers), but as time moves on, he proves to be less popular with writers.

Check this out. Despite being a perfect villain to bring out for a DC team comic, here’s a list of comics that NEVER featured Amazo:

  • Giffen/Dematies JLA
  • Grant Morrison JLA (though he does show up on Aztek! And Mark Millar uses him in JLA 27)
  • Batman and the Outsiders
  • Teen Titans
  • JL Europe
  • Byrne’s run on Superman
  • Legion of Superheroes
  • All-Star Comics
  • Infinity Inc.
It’s a bit surprising to me that a character with such powers never gets used in any of the above titles. All I can think is that older writers had a hard time wrapping their minds around how to tell a proper superhero fight! comic with Amazo. Prior to the modern age, villains were typically defeated by the heroes out thinking them (or rather whatever gimmick they happened to be using at the time.) When a writer creates said gimmick (like say, Captain Cold’s new Igloo Prison) then the writer most likely has a built in solution to the new gimmick. However, with villains like Amazo, the Super-Skrull and the Super-Adaptoid, the writer has to do a lot more work to come up with a solution that allows the heroes to out think their opponent.

Now, the heroes could have just overpowered Amazo in an battle royale, but you don’t really start seeing that type of storytelling come into vogue until the late 1990s. It’s really not until the advent of Warren Ellis’ The Authority and Mark Millar’s Ultimates that modern writers start using a more cinematic approach to superhero comics and the battles become more widescreen in nature. As it would so happen, Amazo has made almost as many appearances since 1999 as he had in the entire Bronze Age.


Most recently, he’s appeared in the pages of Geoff Johns’ New 52 Justice League in the Amazo Virus storyline (though I think that storyline is about a computer virus that infects people than an actual epic throwdown with Amazo).

Will we ever get a real event level storyline with Amazo? Only time will tell.

— Jim

14 - NoMan


First appearance: T.H.U.N.D.E.R. Agents #1 (November 1965)

NoMan even managed to score his
own mini-series spin-off.  In the '60s,
that sort of thing didn't happen.
The Velvet Underground's first album suffered poor distribution and lousy sales upon its initial release but went on to become one of the most influential albums in pop music. Grappling with this irony, Brian Eno famously said in 1982, "I think everyone who bought one ... started a band!" You could almost say the same for the short-lived mid-'60s independent super-hero title The T.H.U.N.D.E.R. Agents. Mind you, no one would have called it an "independent" book back then. The Marvel-DC super-hero oligopoly didn't yet exist. In fact, those publishers bringing back super-heroes after a period of relative absence with Justice League of America and Fantastic Four is what inspired Tower Comics to launch T.H.U.N.D.E.R. Agents. Well, that, The Man from U.N.C.L.E., and the James Bond film Thunderball. Though it may sound like an opportunist cash-in, the brief 20-issue run of T.H.U.N.D.E.R. Agents written by Len Brown and drawn by Wally Wood went on to become one of the most influential titles of the Silver Age.

Most of the T.H.U.N.D.E.R. Agents are equipped with high-tech gadgets left behind by a deceased U.N. scientist, Professor Jennings. NoMan, however, stands out from the rest of the team. The only T.H.U.N.D.E.R. Agent responsible for his own powers, he IS both a high-tech gadget and a deceased U.N. scientist. To cheat death, Dr. Anthony Dunn had invented an android body into which he could transfer his consciousness. When his physical body dies, he lives on in the android form of NoMan. If T.H.U.N.D.E.R. Agents were a Marvel or DC title, that might be the sum of NoMan's super-hero high concept. Brown and Wood, however, extend the conceit to its natural next step, surmising that any scientist with the knowledge and resources to build one android body would have the knowledge and resources to mass-produce them — which Dunn does. As NoMan, he sheds bodies with an abandon that almost qualifies as its own super power. The in-story effect is a T.H.U.N.D.E.R. Agent who "dies" again and again, often just to escape traps.

Government waste, super-hero style.
Although the original 20-issue run is beloved, keeping up with the dozen or so abortive attempts to resurrect the T.H.U.N.D.E.R. Agents since the '60s can be exhausting. In most incarnations, though, it's NoMan — still alive and keeping the flame of The Higher United Nations Defense Enforcement Reserves burning, who drives the action of recruiting new agents and assembling new teams.

— Scott

13 - Spider-Slayer(s)


First appearance: Amazing Spider-Man #25 (June 1965)

The first robotic Spider-Slayer was created by Spencer Smythe with financial support by J. Jonah Jameson. While this robot would fail in its task, Jameson would commission Smythe to build several more Spider-Slayers, all with the promise of being an improvement over the last version. Alas, each of these new models would fail as well. Eventually, after years of working with highly unstable materials to build his robots, Smythe would succumb to the effects of radiation poisoning, a fate he blamed on Jameson. In 1976 (Amazing Spider-Man 162), Jameson would enlist another scientist, Dr. Marla Madison to build new Spider-Slayers. While her Slayer was no more effective than its predecessors, but the project wasn't a total failure for Jameson as he fell in love with Marla and would eventually marry her.

Dr. Marla Madison, future wife of J. Jonah Jameson
The Spider-Slayer concept sat dormant for years after this until Alistair Smythe, the son of Spencer, arrived on the scene in 1985 (Amazing Spider-Man annual).  Smythe's approach was quite a bit different from his fathers and led to interesting variations on the theme in a six-part storyline called Invasion of the Spider-Slayers:


Most recently, Alistair's designs favored a more exo-suit approach with him controlling the Spider-Slayer. Combining Spider-Slayer technology with Mandroid suits, Alistair created an Anti-Spider Squad.  Unfortunately, despite these fresh new approaches, Alistair was no more successful than his father and was killed by Superior Spider-man in Superior Spider-Man 13.

Overall, comic readers have been treated to a wide variation of Spider-Slayers (about 20 in all):


While considered an antiquated gimmick by some readers, I actually like the Spider-Slayers as I think they have a huge advantage over other opponents for Spider-man. For one thing, they constantly change and improve. Let’s face it, the first dozen or so battles with the Scorpion are pretty much all the same. He, like a lot of villains, has one shtick and he sticks to it. Not so for the Spider-Slayers. They can be revamped to look and behave any way the writer/artist wants them to. Didn’t like the mecha-Spider version? No problem! Here’s a giant robot version!

Though, I must confess a fondness for the classic Steve Ditko Spider-Slayer. Some things never go out of style.

— Jim

12 - Superman Robots



First appearance: World’s Finest #42 (1949)

Pinning down the first appearance of a Superman robot is a bit tough. The DC Wikia page suggests the first one was a robot created by Superboy named Friday (after the character in Robinson Crusoe.) Whereas Supermanica Wikia points to World's Finest 42 as the first appearance of a Superman robot. Because the DC Wikia page doesn’t specify which issue of Superboy the robot named Friday shows up, I can’t really verify that claim, but I was able to read the World’s Finest, which first appeared September 1949.

During the 50s, due to the restrictions placed on comics by the Comics Code Authority and shrinking comic sales, DC Comics tended to publish stories that emphasized fantastic and sensational situations involving their heroes.


It was in such stories that the Superman Robots really found their niche. Initially, they were used to trick villains, as in World’s Finest 42, when a Superman Robot (SR) is used to convince aliens from Uranus into believing all earthlings are robots. Sometimes they were substitutes for the Man of Steel when he was away in space as in Jimmy Olsen 55, where Superman gives Jimmy Olsen a SR to divert a runaway planet on a crash course with Earth.

As the years continued, the robots would be relegated to more mundane duties such as scanning visitors in the Fortress of Solitude, filling in for Clark Kent to fool Lois Lane, or picking up stray Kryptonite when necessary. During this time, the robots tended to reside either in Clark’s closet or the Fortress of Solitude. Also, they grow in power with each appearance to the point by 1960, Superman declares they possess all his powers. (Except they are not invulnerable.)

 

By 1961, Superman Robots are shown acting on their own volition using sophisticated artificial intelligence and self-awareness. This brings about some interesting conundrums:
  • The robots often address Superman as Master. Yet if they truly possess self-awareness, doesn’t this put Superman in oppressive role as a robot-slave owner?
  • Because the robots are programmed to only do good deeds, would they recognize this suppression of free will?
  • When Superman turns them off, do they resent this time in isolation? Are they even aware of it?
Unfortunately, such questions were never explored and as a result, by the 70’s, the robots came to be seen as a story cop out. So much so, that in 1971, Superman retires all robots because air pollution is causing them to act erratically in World’s Finest 202, Vengeance of the Tomb-Thing! There is one final story from 1985 with a Superman robot who was reprogrammed to act as a host to visitors in the Fortress of Solitude, but he ends up getting destroyed by the Superman Revenge Squad in Superman 414.


With that, the Superman Robots were shuffled off into the realm of the Pre-Crisis universe. (Along with a lot of other cool stuff, but that’s a rant for another day.)

— Jim

11 - Red Tornado


First appearance: Justice League of America #64 (August 1968) ... and (sorta) Mystery in Space #61 (August 1960)

Remember what we said about the massive influence of T.H.U.N.D.E.R. Agents a couple of entries back? Well, three years after NoMan debuted, both Marvel and DC elected to have android members join their premier super-teams — at almost exactly the same time. The Red Tornado first appeared in the August 1968 issue of Justice League of America with the Vision following hot on his trail in the October issue of Avengers. The similarities between the two could fill an interesting blog post on their own. (In fact, here's one.) Rather than puzzle over the yin-yang nature of the Big Two's team-player androids, let's look at what makes the Red Tornado unique.

Good plan, Tommy O.  Solid.
There's no more retconned character in the DC stable (excepting, of course, Hawkman). Reddy's back story began shifting the moment we met him, when he showed up on the Justice Society's doorstep claiming to be the original, Golden Age Red Tornado. This claim doesn't wash with the JSA, who show him an image of the original hero, a non-powered woman named "Ma" Hunkel who wore a pail on her head. This new Tornado is puzzled and upset, even moreso when he removes his helmet/mask to discover there's no face beneath it. This being a Silver Age JLA/JSA team-up, no one gets a chance to spend much time on the mystery of the Red Tornado before both teams are drawn into a universes-spanning battle with scientist Thomas Oscar Morrow ("T. O. Morrow," see) and the predictive supercomputer he uses to spy on future technology and replicate it in the present day. It turns out the new Red Tornado is a creation of Morrow's, built using future technology and intended to infiltrate the JSA. (It's an odd plan, to say the the least, given that the JSA know the original Red Tornado. Morrow may have come out better if he'd shown up on their doorstep himself claiming to be Dr. Mid-Nite. Dressed as Batman.) After betraying Morrow and saving both teams, the Red Tornado joins the Justice Society, giving them a proper Silver Age Red Tornado.

The Overeager Tornado.
For a while, anyway. The new character proved popular enough in the annual JLA/JSA crossovers that JLA writer Len Wein finally brought him over to Earth-1 in 1973 to join the League. On Earth-2, Reddy had been a perpetual outcast, feeling ostracized and untrusted by a team whose acceptance he was too eager to earn. Perhaps his was a consequence of making only a couple of appearances a year and being crowded out in those by the massive cast of two super-teams. Revisiting them today, it's tempting to see a generational difference between the treatment Red Tornado receives from the 1940s heroes of the Justice Society and the (then late-)1960s heroes of the Justice League. Are the older, more traditional JSAers less willing to embrace an android than the younger, hipper JLAers? Red Tornado is certainly a stand-in for outsiders of any kind, and it's not hard to imagine, say, a black newcomer getting different treatment from different generations of heroes in the 1960s. Or a gay or transgender hire at a young company fitting in more easily than at a grayer company in the real world of today.

For a while, Red Tornado enjoyed something akin to a status quo. He was a member of the JLA in good standing who adopted a human identity, complete with a face, and used it to meet a nice single mom with whom he embarked on a relationship. That all fell apart in the '80s, beginning with an ambitious retcon of the Tornado's origins by Gerry Conway. T. O. Morrow returns — a sure sign you'll end the story scratching your head over his motivations, powers, and sometimes how many of him there actually are — to kick off a story revealing that the Red Tornado android is actually inhabited by the spirit of an Adam Strange villain named Ulthoon, the Tornado Tyrant from a 1960 issue of Mystery in Space — who went on to reform and appear as the Tornado Champion in an early issue of JLA, #17 (February 1963).

The first appearances of the Tornado Tyrant and the Tornado Champion.
Not especially robotic.
By the mid-'80s, DC was toying with the idea of turning Red Tornado into a villain, enlisting Kurt Busiek to lay the groundwork in a four-issue mini-series before changing their mind and destroying him (twice, inexplicably) during Crisis on Infinite Earths.

Without a robot body, Red Tornado went on to become a wind spirit, a living tornado who threatened environmental vengeance whenever he showed up in DC titles of the late '80s and early '90s. Leveraging the Crisis on Infinite Earths reboot, Cary Bates in Captain Atom and John Ostrander in Firestorm recast him as a wind elemental of the planet Earth, doing away with his Ranagarian back story. Professor Ivo replaces T. O. Morrow as Reddy's creator in the new history. I suspect T. O. Morrow stories were too painfully nonsensical for post-Crisis writers to bear. He eventually got a new robotic body and spent time alongside Primal Force and Young Justice before finally settling in as a background placeholder in various modern incarnations of the Justice League.

During his occasional absences, Red Tornado inspired a couple of legacy characters who joined the Justice League in quick succession.  The first, Tomorrow Woman, was built by T. O. Morrow to infiltrate the League in 1997's JLA #5 by Grant Morrison and Howard Porter.  Unlike Reddy, she didn't survive her betrayal of Morrow.  The second, a new version of Hourman from the 853rd century, made his debut in the Morrison-driven DC One Million and spun out into a tragically brief ongoing series in the early 2000s.  Like Reddy, Hourman wrestled with issues of loneliness and alienation as he learned what it meant to be human.  Since Hourman's demise, Red Tornado himself has returned to headline his own ongoing series, even picking up a family of sorts in the form of robotic siblings Red Torpedo and Red Volcano.

— Scott

Monday, February 23, 2015

Spider-Man of Two Worlds

In case you haven't heard, Marvel Studios recently reached a historic deal with Sony Pictures paving the way for the third cinematic Spider-Man of this millennium.

Also, the Pope is Catholic.

Since there are still less than a million analyses of the implications on the World Wide Web, let's consider a question not getting much press:  Is this the beginning of the end for exclusive licensing of comic-book properties?
More Spider-Men!  More!

First, though, let's clarify what this Sony-Marvel partnership is and isn't.

Despite some oversimplified reporting, movie rights to Spider-Man are not reverting to Marvel.  They remain steadfastly under the control of Sony's Columbia Pictures, who acquired the license back in 1999.  What's new and novel here is that the licensee (Sony/Columbia) is willing to share rights to the character and mythos with another licensee — in this case, the wholly owned subsidiary of Marvel we know as Marvel Studios.  In other words, Sony is willingly turning a blind eye to the exclusivity promised them in their original licensing agreement.
It still comes as a surprise how much this brand is worth.

Not without reason.  The Amazing Spider-Man raked in $758 million worldwide, a pretty penny by anyone's standards.  Consider the massive costs of making star-heavy, effects-laden movies — Amazing had a production budget of $230 million — and the uncertain costs of promotion and paying whatever licensing fees and revenue-sharing are owed Marvel, and you begin to appreciate what an expensive house guest the Spider-Man license can be.  If Spider-Man is a goose that lays golden eggs — and it most certainly is — it's one that eats its weight in gold, too.

The Amazing Spider-Man 2 did well internationally, but its take at the U.S. box office dropped off nearly a third from the original film in the series, leaving a beleaguered Sony, reeling from hacking and The Interview fiascoes, anxious to step off the path of diminishing returns represented by The Amazing Spider-Man 3 and start fresh.  The deal with Marvel allows them to do just that.

On their own, Sony had no creative excuse to relaunch the flagging Spider-Man franchise.  In a partnership with Marvel, they can "cater to the creative needs of the Marvel Cinematic Universe," bend to the will of fans who "want to see a more authentic Spider-Man," or whatever reasonable mandate fits the eventual reboot.  "Fantastic new opportunities for storytelling and franchise building," as Bob Iger says.

Movie-making is big-budget, high-stakes business.  Studios don't like to introduce more risk into the process than is already built in.  This is why most mainstream films hew to the same formulas and how what works once becomes an endless barrage of what once worked.  A film pushes the boundaries a bit, surprises audiences with its freshness, and a dozen imitators arise to reverse-engineer its plot, characters, or "attitude."  No business, even comics, is as rife with rules, formulas, and received wisdom as the film business.

Marvel Studios put itself on the map by pushing specific boundaries, by breaking a few silly rules anyone with half a brain could recognize as rules, formulas, and contrivances.  When Iron Man hit theaters in 2008, the consensus was that only top-shelf super-hero properties could build an audience.  (Only seven years later, it strains our internet-atrophied collective memory to recall a time when Iron Man wasn't a top-tier name.)  When The Avengers arrived in 2012, everyone knew you couldn't build a summer blockbuster that required knowledge of previous, largely unrelated film series — and that if you could do it once, you certainly couldn't repeat it, as the cost  of superstar actors would be prohibitively high.

As we head into the summer of the Avengers sequel, things have changed.  Rather than an underdog breaking the rules, Marvel Studios is the establishment.  The Marvel brand rides high on a crest of faith from its fans that invites religious comparisons.  This golden age can't last forever, but Sony (like everyone in the movie business) knows to play it safe — to go where the smart money is while it's there.  No matter how clever or bulletproof their plans for a third Amazing Spider-Man film may have have been, Sony could only hope, at best, to compete with the zeitgeist magic of "a Marvel movie."  Partnering with Marvel Studios and breaking one silly rule about exclusivity in movie licensing allows them to make both a Spider-Man movie (the latest in a long chain of comics' most valuable licensed property!) and a Marvel movie (from the studio that brought you all that is good in life!).

By ignoring the exclusivity of its licensing agreement and working with Marvel Studios, Sony is making a smart move in the short run — and changing the status quo for all of us in the long run.  Once a rule is broken (as Iron Man broke the second-tier comic character rule and Avengers the shared-universe rule), the genie is out of the bottle.  The inexorable laws of Hollywood economics insist the rule be "broken" again and again for maximum profit.

The pressure is on for 20th Century Fox to reach out to Marvel Studios' Kevin Feige in some way.  Unless Josh Trank's hail-Mary production of The Fantastic Four scores a touchdown in August, every eye in the room will be on Fox executives to pick up the telephone and make that call, to cash in on Marvelmania while there's still time.

Ezra Miller.
Grant Gustin.
John Wesley Shipp.
Marvel's deals aren't the only places we see signs of exclusivity eroding.  Although the Flash stars in his own weekly television series on the CW, Warner Bros. is developing a feature film starring a different actor (Ezra Miller) to be set in the shared universe introduced by Man of Steel.  Heck, Miller's casting was announced just as initial ratings for Grant Gustin's turn as the TV Flash were coming in, leading Arrow star Stephen Amell to chide the Bros. for impeccably bad timing.

With The Flash and Arrow doing well on television, it's clear neither DC nor Warner Bros. have a hang-up about their characters appearing in different versions in (ever-so-slightly) different media.  And let's not forget Arrow's penchant for using Batman-family characters, notably Rā's al Ghūl, who featured prominently in Christopher Nolan's recent Batman films.  Do we really expect Roy Harper to stay true to Arrow and not appear in some form on the upcoming Teen Titans show?

The plethora of super-hero stories on big and small screens proves non-niche audiences have an appetite for the genre.  Maybe there was a time in the past when publishers benefited from granting exclusive use of Superman or Spider-Man to a single network or movie studio, but today's TV and movie makers are more than willing to negotiate for a slice of the Spider-Man pie rather than go without.  Even the publishers, creatures of habit though they are, are beginning to realize they're in the driver's seat.

The writing is on the wall:  Exclusive licensing is a bad deal for the IP holder and no longer necessary to get wider exposure.

It's past time for this change.  The notion characters must be licensed to a single studio is a silly rule, rooted in underestimating audiences and sheer, ignorant inertia.  Sony's willingness to look the other way, to "break" the rule, may be the thin end of the wedge here — the beginning of a flood of imitative deals that will leave licensed characters (and audiences) better off in the long run.

Not that long ago, everyone in television believed audiences had neither the capacity nor inclination to remember continuity from week to week.  Episodes of TV shows stood alone and could be watched in any order, stymieing long-term character development or plot pay-offs.  The networks got over that bit of so-called wisdom, and audiences now follow season-long arcs and even entire shows built around a single plot progression, like Breaking Bad.

So give me three Spider-Men.  Personally, I'd have loved Columbia to finish its Amazing Spider-Man trilogy with Andrew Garfield as it was promoting the arrival of a brand-new Spider-Man in Marvel Film to Be Announced (But We All Think It's Civil War).  In an age of cord-cutters and savvy television audiences who throw around the term "shared universe" as comfortably as any fanzine writer of the 1970s, no one would be confused by two Spider-Men.



A parting thought:  Since Marvel is now farming out part of its core Marvel Cinematic Universe continuity to Sony, would it be willing to do the same with future projects?  Looked at through a certain lens, isn't that what it's doing with ABC's Agents of S.H.I.E.L.D. and Agent Carter and the Netflix Defenders family of shows?  Could the Spider-Man deal open the door for partnerships with Lionsgate or Focus Features?  Might we finally get that Wes Anderson Power Pack movie I'm hankering for?

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