Review: DK III & The Dark Knight Universe

This post is a review of Frank Miller’s Dark Knight Universe and the third installment in the critically acclaimed series, DK III: The Master Race. DK III is co-written by Frank Miller and Brian Azzarello, currently out with five books out of a series of eight. Since it’s inception in 1986, the Dark Knight Returns was the graphic novel that began the Dark Age of comic books, a permanent genre-wide change still felt today in comics and graphic novels and now films. Arguably, Miller’s avant garde work raised comic books as an artform into the same category as “serious” literature, making way for the Hugo award-winning Watchmen in 1988 and Pulitzer Prize winning Maus in 1992.

Miller’s muscular interpretation of the Batman in the Dark Knight Universe is modern mythology, an iconoclasm of the barely-serious camp seen in the 1960’s Batman live action TV series and Super Friends cartoons of the 1970-80’s. Gotham City is a gritty, visceral film noir skyline full of gargoyles and deco gothic architecture that oozes tension from every shadow. The familiar characters surrounding Batman are also portrayed with deeper dimension, their flaws making them more engaging. Wonder Woman and Superman are lovers, their child is a moody teenage Supergirl named Lara, and the Joker is a homicidal sociopath instead of a wisecracking robber. Bruce Wayne struggles with his aging physique more so than the previous two Dark Knight series, now unable to engage foes with the same level of “blunt trauma” as before. This touch of realism makes DK III more interesting not only because it makes Batman’s challenges more difficult but also by giving longtime fans (myself included) a hero they can identify with.

Miller’s Dark Knight Universe draws realtime parallels to modern day events and zeitgeist of an ever changing America. Runaway capitalism, urban racial tensions, even the ubiquity of social media and cell phones are woven into the storyline. Fear, Batman’s greatest ally, is the unifying refrain in all three DK titles. In the 1980’s Reagan decade it was the fear of nuclear war (The Dark Knight Returns or DK I). In the 2000’s, the banal psy-op fascism of the Bush decade is seen in the villainy of Lex Luthor and Brainiac (The Dark Knight Strikes Again DK II). Today, the abomination of  fearful police murdering unarmed African American citizens is clearly recognizable in Dark Knight: The Master Race, (DK III). The army of Supermen led by the fanatical Quar represent the misguided trigger fingers of the racist police officers who, like the Kryptonians, wield the state-granted power of life and death. Even after suppressing Batman’s allies including The Flash, Green Lantern and The Atom, the Kryptonians are outwitted by the Dark Knight and are forced to meet the citizens of Gotham in combat in the most recent issue of DK III.

While artists Andy Kubert and Klaus Janson are the penciler and inker on DK III, the artwork retains some of Miller’s distinct style. His artistic concerns are expressionism and composition rather than lifelike realism. The chiaroscuro silhouettes and characters’ faces make reading an emotional experience, allowing us to feel the action directly. Miller’s characters have a statuesque quality, evoking ancient greek mythology in the way they are more carved from marble then drawn with pencil and ink. Miller’s art is moving in a more instinctive, metaphoric direction where he freely distorts certain characters for emotional impact. One panel of the Batgirl minicomic (penciled and inked by Miller himself) even transforms an angry mob pursuing Batgirl into a piranha, calling to mind the poetry of Federico Garcia Lorca.

Of special interest is the development of Caroline Keene Kelley, a hero introduced in DK I. The Dark Knight universe was the first to use the gender switch device now so popular in Marvel comics today, as evidenced by Thor, Wolverine and now Iron Man Batman’s sidekick Robin, slain by the Joker long before the incidents of the original Dark Knight Returns, lives again in the character of Carrie Kelly, a brave teenage girl inspired by his reappearance during the first issue of DK I. Kelly proves herself worthy of the mask after saving Batman’s life during combat with the mutant leader, impressing him with courage and ingenuity beyond her years. She switched her hero identity to Catgirl in DK II, still remaining Batman’s partner but expressing another aspect of her identity through her Catgirl persona.

Kelly eventually earns the title of Batgirl in DK III, her 1980’s punk rock inspired green and purple costume demonstrating how taking artistic risks is one of Miller’s most entertaining assets. The Batgirl #1 mini comic included in DK III issue #4 is a remarkably enjoyable episode. Passages of it transcend the superhero genre in how the mob chasing Batgirl as she carries out her mission seems to be a group of inhuman orcs and ogres wielding primitive melee weapons. Her encounter with Aquaman riding a monster hammerhead shark again evokes Greek mythology in his resemblance to Poseidon, god of the sea. This kind of sci fi fantasy imagery juxtaposed with bleeding edge street dialogue make Miller’s DK III: The Master Race the future of the graphic novel landscape.

Creating Better Ideas

In this post we examine techniques for creating ideas in more detail, with the intent of using them to create even better ideas. These practices will help when dreaming up new stories and characters, visual artwork, game designs and other engaging content.

Tell yourself, “I don’t know how I’ll think of the idea, but I know that I will”. This affirmation frees up your conscious mind, which is mainly concerned with everyday mundane functions like the five senses and memory, making way for the wealth of imagination that belongs to the unconscious mind. Put yourself in a quiet, comfortable environment and close your eyes. Keep them closed and gently look up without tilting your head. Concentrate on the known facts surrounding the idea, such as the setting for the story, the type of hero you are designing, or the desired outcome. Breath deeply, and wait without expectation. This will bring your mind’s eye to the horizon where dreams meet reality, a zone of limitless, infinite potential. There are no judgements or mistakes here, only what is useful and interesting.

When the ideas come, expect the unexpected and be ready to write down, draw or record whatever comes. Do not question the worths of these ideas at this point, as revision engages a very different part of the mind and will shut off the flow of imagination. Just record enough so that you will remember the concept later during the Revision phase. Dr Elmer Gates practiced this ‘Sitting for ideas’ at first for his own inventions (which numbered some 200),  eventually being paid to sit for ideas for large corporations, so refined did his imagination practice become (Think and Grow Rich pp. 158-161). Nikola Tesla also created his inventions this way, adding the technique of holding a ball bearing in his palm which rested in a metal pie tin. If he went too far across the border of consciousness and fell asleep, his hand would go slack and let go of the ball bearing, causing it to fall into the pie tin and make a noise that would wake him up. He would then start the visualizing  process again and pick up where he left off.

The practice of recognizing patterns can lead to new discoveries and insights. For example, it is fascinating how the appearance of a cancer cell is similar to that of the first microsecond of a nuclear detonation (see illustration). And how the structure of lightning resembles that of a river when it meets the ocean. Seeing significant likeness in events or phenomenon can also help to avoid predictability.
For instance, if your story idea is similar to another established story, study it in order to put a surprise plot twist in your idea. In this way your story will benefit from the familiarity with the existing story, while rewarding readers with a welcome violation of expectation. The television series Once Upon a Time did this with the character Ruby, who is both Little Red Riding hood and the Big Bad Wolf in the storyline.

Seeing the ordinary in new ways is another way to strengthen your creativity. Looking at a drawing in progress in a mirror flips the image, allowing you to see it with fresh eyes. Or imagine the familiar is the strange; next time you go to a convenience store pretend to be a time traveller from the 1600’s and notice how different everything seems. Harnessing the power of make believe we all used as children is stimulating and very useful. Pablo Picasso looked at a bicycle seat and handlebars in 1942 and created the sculptural piece “Bulls Head“.

Making connections between unrelated ideas and phenomenon can bring them together so they produce a new idea. The use of mutants, demons and magic in the distant future setting of both the anime Vampire Hunter D and the graphic novel Ronin make gripping examples of the benefits of connecting unrelated material.

Taking advantage of chance is yet another tactic to use when creating better ideas. Happy accidents are one example, like a misspelling that leads to a more interesting name for a character. Scottish scientist Alexander Fleming discovered the medicine penicillin by accident. Going with the flow when the unexpected happens often leads to ideas that delight the imagination. Being open to gifts hidden in the form of mistakes will increase the creativity of your ideas.

Constructing networks by forming friendships and associations between other like-minded people yields helpful feedback for new ideas. Just being in the same space as other creative minds can cause new ideas to emerge. The exchange of responses and encouragement from your “Mastermind group“, (another quote from Napoleon Hill’s Think and Grow Rich) is very valuable to the life and growth of your creative content.

“But I don’t have a creative bone in my body”. Nonsense. Stop telling yourself that cliche, and never look back at such a useless attitude. Challenge assumptions about everything, both your own and those of others. For example, telling yourself, “no one will like this” is probably not true. Dare to question given facts and truths before dismissing the new idea. If you like it, many other will also.

 

 

Creating Ideas

In this article we will look at the process of creating ideas and offer some techniques to employ when creating your own. There is a mystique around creative people fueled by many cliched stereotypes, but all ideas are the result of hard work. When thinking up a story idea, character design or any other imaginative content, there is a basic structure to the process with some pitfalls and best practices to consider.

Where to start? With yourself. Find something you care about; if you truly care about it, chances are someone else does also. Lance Henson, one of my creative writing teachers, pointed out that the most personal subjects are also the most universal. Then gather information in the form of references similar to the content idea you want to create. For instance, if you wish to come up with an idea for a sci fi short story, read a few collections of sci fi short stories in order to immerse yourself in the genre. Or if you are thinking up a new fantasy character design, start by researching other designs with a Google Image search. Save the appealing search results in a folder and surround yourself with those visual influences. If you are excited about this collection of information, it will compel you to take a first pass at creating your own unique idea.

One definition of an idea is using the imagination to produce a novel combination of previously unconnected elements in a way that adds value, making the idea more than the sum of the parts. This definition sounds a lot like Synthetic Imagination as described in the book Think and Grow Rich, by Napoleon Hill (pp. 70-73). By studying pre-existing ideas and cross referencing them with your own experience and memories, new ideas are synthesized and brought into being. Synthetic imagination is the process of surrounding the mind with influential ideas, like a word map around the main subject in hopes of finding connections that will produce a new idea.

Another form of imagination Hill describes as Creative Imagination. A kind of waking dreamstate, this faculty is used think up unprecedented ideas which seem to come from “elsewhere”. Ideas from the creative imagination are often surprising and odd at first, but gradually become acceptable once the shock of the new fades. Surrounding yourself with nature or priming your work environment with quiet, soft lighting and things you find beautiful are all conducive to the creative imagination mindset. When engaging either the synthetic or creative imagination, it helps to be aware of the two frames of mind we use in the process of making ideas; Generation mode and Revision mode. Because these two are so different, it is important to keep them separate at the risk of compromising the process and never getting anything done.

First is generation mode; fast and intuitive, only focused on what is possible, and choosing freely from these possibilities. The field of positive psychology refers to this as the ‘flow state’, where we temporarily forget our identity while lost in the enjoyment of an activity. Psychologist Dr. Mihaly Csikszentmihalyi asserts that activities which put us in this flow state are a key component of happiness. When in this state, our hands often struggle to keep up with the outpour of inspiration. Right or wrong, good or bad are value judgements that belong to the revision mode of idea making. When you start to criticize your own work, like saying “this is wrong” etc., tell yourself “later”. Go back immediately into generation mode and complete the thought, even if it comes out rough or awkward. Creating a basic outline of the idea and getting it ‘on paper’ is the main concern of this mode of imagination. Then take a break and focus on something totally different for a few minutes, like sweeping the floor or taking a brief walk. The imagination is like a muscle in the sense that it becomes stronger with sustained use, but is subject to strain from overexertion.

Next, come back to the content idea in slow, deliberate Revision mode. This frame of mind’s concerns are quality and clarity. Here is that ‘later’ time to revisit the critical thoughts that arose while generating your idea. Take another look at word choices with a thesaurus; erase and redraw parts that aren’t working; add detail to the outline of your idea. Don’t fall in love with every idea, and step away when the process becomes strained or forced. When the revision phase is complete, the process of idea creation has run it’s course. Share your idea with others and listen to their opinions, accepting the fact that these opinions are legitimate in their own right, but nevertheless still only opinions rather than facts. Ultimately you are the final judge of the value of your efforts. If your creation pleases you, that is all that matters regardless if others like it or not.

By starting with your own passion, gathering information about it, generating an idea based on the informations influence, and then revising it, you will have begin creating ideas. Practicing this process is more important than the results of the process; I will always remember Lance Henson’s homework assignment to go home and write 10 bad poems.

Storytelling Fulfills Emotional Needs

What makes a graphic novel, game or book so good you can’t put it down? What do we get from our favorite film that makes us want to watch it over and over? In this article we will look at why good storytelling is important in successful sci fi and fantasy content.

Audiences are drawn to fictional content because of deep emotional needs to fantasize and disengage from the relentless grind of modern life.  How well the story fulfills these needs depends on four aspects described in Dona Coopers Writing Great Screenplays for Film and TV, pp. 15-18.  First, audiences want new information. Concepts such as the dystopian simulation-based slavery of humankind presented in the Matrix films are fascinating, pushing the limits of imagination as the heroes go up against impossible odds. Or the idea of the Force presented in the Star Wars films, which introduces magic to the streamline realm of science fiction. New information in the form of situations and environments allow us to take part in previously unknown adventures through the characters in the story. Fictional new information can also inspire us, boosting our own imagination not to copy but instead to think in new ways. Audiences need for new information can also be met by content with an original style or form, such as the film Transcendence which told its story from the end back to the beginning, or The Lake House which features a magic mailbox, allowing the main characters to fall in love while separated by two years time.

Fictional content also meets the audience’s need for conflict resolution. Life seems riddled with problems beyond our control; paying taxes, homelessness, the obesity epidemic are just a few troubling examples. The struggles of fictional characters resonate with the struggles of its audience, allowing us to become our heroes as they overcome conflict in the context of the story. We overlay the conflicts of our own lives on those of our heroes for the release it provides at the conclusion. While only temporary fantasy, the complex nature of the human mind allows this process to work, providing some relief from the problems of existence. This conflict resolution aspect of the emotional need met by stories is mingled with that of the need for bonding.

Characters vary in nature, from heroic to tragically flawed, but interesting characters always inspire the audience to care about what happens to them. Heroes of all forms of fictional content generally are of four types; the powerful Idol, the regular Everyman, the misunderstood Underdog and the antiheroic Lost Soul. This range of hero types aligns with the wide variety of personalities of the audience, explaining why some readers identify with Captain America (Idol hero) and others with Elric (Lost Soul hero). In an isolated society where the words, “I love you” are almost taboo, audiences crave emotional connection and find it in the eyes of their favorite characters. Movie goers and gamers also bond with each other during the experience of the film or playing the game.

In the case of video games, the plot is not as important to users as the experience of an engaging session of gameplay. Users create their own stories in realtime using the game, writing the story as it happens for retelling later or even recording and posting on the Twitch video share platform. The popular MMO first-person shooter Counter Strike franchise has no storyline, only the basic theme of player versus player in a variety of settings. Counter Strike users get emotionally involved creating their own stories of epic gameplay, using their skill on the content as an authoring tool.

Just as every video game has a ‘game over’, books and movies have conclusions which fulfill audiences emotional need for completion. Based upon uncertainty about the future, this need is met by the beginning-middle-end structure of fictional content. Though emotional involvement with the characters, we lose ourselves in the tension and release cycle of the story as it builds to conclusion, experiencing a kind of resolution in our own lives. We are largely unaware of this ‘fantasy therapy’, in part because emotional processes work subconsciously.

Humans have an eternal need for story. Where once long ago told by firelight, these myths eventually became to be told by typewriter and printed page. The page grew, the story becoming the wide gaze of the film camera, and now by the virtual light of CG imaging technology. Interesting to note that the CG ‘tool’ is similar in essence to the ‘tool’ of literature; the keyboard. The many forms of fictional content now at our fingertips are emotional systems that empower us to bond, overcome conflict, get closure, and learn new information.

Weapons of Sci Fi-Fantasy Part 3 : Projectiles

Machine guns, throwing stars, blasters and crossbows are some interesting examples of projectile weapons seen in sci fi and fantasy content. The earliest projectile weapon was most likely the rock, followed eventually in prehistoric terms by the invention of the bow and arrow. Arrowheads found in Sibudu Cave in South Africa dating back some 64,000 years. These arrows are among the very first weapons made by humans, fired with the leverage-based atlatl. The bow was invented by at least 20,000 BC, according to radio carbon dating of cave paintings that show our ancestors using them to hunt.

Arrowheads were made from stone until the invention of bronze around 3,500 BC. Advancements in metallurgy made arrows easier to produce, but still ineffective against metal armor and shields. Medieval combatants were at an impasse with metal arrows and swords unable to pierce metal armor, leading to the invention of the lance. Used by horseback, the lance was very efficient at going through plate armor, but only after a charge of some distance. In effect, the long ‘reload’ time between lance charges made it a poor overall weapon on the battlefield.

Less effective at killing than the sword or bow, throwing implements such as knives, spikes and shuriken were used to distract and wound, also serving as melee weapons in close combat. The earliest record of throwing knives comes from Libya around 1,300 BC. Due in part to the secretive nature of the shinobi, or ‘shadow warriors’ who employed them, the origin date of the shuriken or ‘sword thrown from the hand’ is unknown. A common myth is that only ninjas used shuriken, in reality they were employed in combat by both samurai and ninja.

In the 9th century gunpowder was invented in China, followed by the firearm in the 13th century in the form of the ‘fire lance‘, a precursor to the musket. This weapon used gunpowder only as a primitive flame thrower. Firearms were adopted in Europe during the 15th century by the Ottoman Empire as standard issue for infantry, replacing the pike.

The rifle followed three centuries later, featuring a grooved inner barrel (rifling) to impart spin on bullets for deadlier accuracy. The first handheld automatic weapon was invented in Germany by Hugo Schmeisser, called the ‘Kugelspritz’ or ‘bullet squirter’ around 1910. This 9mm full-auto machine gun was the blueprint for modern day projectile weapons such as the Scorpion, Uzi and Mac-10,  and it’s compact, short barrel design inspired the AK-47 and M-14.

In the sci fi, lead and steel bullets are replaced by directed energy weapons including lasers, plasma and repulsor beams as used by Iron Man and Dr. Doom. Some other popular sci fi projectile weapons include Chewbacca’s Bowcaster from Star Wars, the over and under double trigger hand cannon wielded by Dekker in Blade Runner, and Captain Harlock’s combination projectile/melee weapon the Gravity Sabre. Also notable are the shurikenlike Glaive from Krull and Yondu’s whistle-controlled Yaka arrow from Guardians of the Galaxy, the latter bringing the projectile weapon around full circle to it’s ancient origin.

 

The Mysterious Ether – Part 2 of 2

In the dice and miniatures adventure game Dungeon and Dragons, the Ether exists as The Ethereal Plane, a special ‘wasteland’ plane of existence which is present in the background of all the inner planes, but part of none of them. Etheric cyclones were a danger to hapless adventurers, who would find themselves tossed into other planes of existence adjacent to the Ethereal at the Dungeon Master’s whim.

The oriental concepts of Chi and the Tao sound very close to the definition of Ether; an ultimate reality, a living void which simultaneously creates and consumes all physical forms in an endless churn. The field theory of matter as described by physicist Hermann Weyl in The Tao of Physics, p. 199, proposes that reality is ‘really’ just ultra high intensity electrical charges in a cosmic electrical field. The tiny electrical charges that make up the atoms of everything that exists manifest as physical matter in a cosmic field of static.

The carbon nature of the Ether is so fine as to be undetectable by eye or any current scientific instrument, but might explain why our Milky Way galaxy emits radio static hiss (first detected in 1931 by physicist Karl Jansky). Other galaxies also send out background radio hisses of their own. This ‘universal signal’ was discovered in another form in 1977 by SETI astronomer Jerry R. Ehman, originating in the constellation of Sagittarius.

Today, the Ether seems relevant only in terms of fiction and pseudoscience, conspiracy theory even. Sci Fi Fantasy Blog thinks perhaps science doth protest too much. Coming this weekend as promised; The Weapons of Sci Fi-Fantasy Part 3 – Projectiles.

 

The Mysterious Ether – Part 1 of 2

A subject mentioned in the previous article on science and magic is interesting enough to deserve some remarks on its own. The Ether is a controversial topic spanning the realms science, magic, fact and fiction. Bear with us with a theoretical exploration in two parts, and Sci Fi Fantasy blog will follow up with The Weapons of Sci Fi-Fantasy – Part 3: Projectiles next weekend.

According to the Austrian scientist/inventor Karl Schappeller (1874-1947), the Ether is an ultra fine carbon-based “energy soil” filling all of space. The analogy of static on a pre-digital TV screen is useful when imagining what the Ether looks like. Solid matter passes through the Ether like a screen door swinging through the air. It has the properties of vacuum force, consciousness (but in a latent state) and transferring electrical power. In the same way that dense fog is only visible when seen from a distance, the Ether is only seen when looked at from across the galaxy. Like a multiverse-sized cloud of black Xerox toner, the Ether concept would explain why the night sky is black.

The Michelson-Morley experiment of 1887 disproved the existence of any Ether to the satisfaction of mainstream science, making way for Einstein’s special theory of relativity, which did not support the existence of the Ether. He popularized the idea that space is an empty void and that radio waves and light travel through it without being ‘carried’ through a stationary medium (like ocean water ‘carries’ fish).

In the 1901 book Thought Power: It’s Control and Culture, author Annie Besant states that thoughts travel through an Ethereal fluid like radio waves through the air. She explains the pineal gland in the center of the brain is sensitive to the Ether, and functions as a transmitter/receiver for thoughts of sentient beings.

Science and Magic: An Examination

Arthur C. Clark, author of 2001: A Space Odyssey said, “any sufficiently advanced technology is indistinguishable from magic”. Using that quote as a starting point, we will continue to explore the relationship between the two.

Magic is the art of conjuring the elemental forces of nature or supernatural beings of the spirit world to alter reality. Magic is produced by spells usually involving arcane symbols, objects and spoken or written words. One term for books of magic is Grimoire, which translates literally to ‘grammar’, giving another level of meaning to the word ‘spell’.

Science, on the other hand, is the art of understanding and manipulating reality through the use of advanced knowledge and technology. Science believes there are logical explanations for everything that exists, and that which is currently not explainable will be eventually understood through application of the scientific method. Modern science seems intent on using technology to zoom further and further down into the physical nature of reality, continuing to find smaller and smaller particles (quantum theory).

Both science and magic harness the energies of nature, although each is based upon a separate belief of what nature really is. Early scientific study proposed that there are four basic elements in the natural world; fire, water, earth and air (and wood according to Chinese belief). Cyril Davson wrote about the Austrian scientist Karl Schapeller in The Physics of the Primary State of Matter, who theorized that these elements are all comprised from the Ether, a conscious-physical energy pervading all of space. Schappeller’s work on a new source of energy was of great interest to Heinrich Himmler, leader of the Nazi SS (Records of the Reich Leader of the SS and Chief of the German Police, p. 88). In the late 1800s the Michelson-Morley experiment supposedly disproved the existence of the Ether.

Alchemy is a pre-scientific practice which borders on both science and magic. The chief aims of alchemy were to change various metals into gold, concoct potions to cure any disease and grant immortality. Alchemists believed in magic while at the same time establishing some of the basic tenets of modern science such as laboratory techniques, experimental method and terminology. During the Renaissance, alchemy would go on to split into two branches, one rooted in philosophy, astrology and the occult, and the other branch the sciences of chemistry and medicine.

Today, the two realms of magic and science that once shared much in common are very separate belief systems that do not acknowledge the others’ validity. This evokes the image of the elephant and the blind men, each groping for an understanding of the same thing while in total disagreement with one another.

 

What Is Sci Fi Fantasy?

Science fantasy, also known as sci fi fantasy, is a genre of books, games, films and other fictional media that continues to grow in popularity since its emergence as a distinct genre 100 years ago. A working definition of science fantasy could be fiction that blends advanced technology with supernatural magic. These aspects are opposites; one assumes a radically developed science, while the other defies the understanding of science. Crossing these styles allows for more freedom of expression on a wider scope.

Edgar Rice Burroughs’ Princess of Mars, published in serial format in 1912, is one of the earliest known works of science fantasy. Burroughs, who worked for a pencil sharpening company at the time, had no formal training, deciding he could do at least as good as other contemporary pulp writers when he began in 1911.

Most science fantasy content leans more toward one genre or the other. Recall the Humongous, the steampunk mecha Goblin champion from Jim Henson’s Labyrinth. The Star Wars franchise setting is mainly sci fi, but ranks as science fantasy because of the The Force and it’s similarity to magic and mysticism. Recall the Sith Lord Darth Vader in A New Hope speaking about the Death Star, “The ability to destroy a planet is insignificant next to the power of the Force“.

The opposite is true in the case of Michael Moorcock’s 1970’s series of mainly-fantasy novels known as the Elric Saga. At one point Elric encounters a time and space travelling pig-like monster who changes back to it’s original self, calling itself the contemporary sounding ‘Frank’ before being destroyed. Another sci fi encounter in the saga involves two alien giants known as Agak and Gagak who appear to be enchanted towers in the eyes of the characters. Their scheme to consume the universe is thwarted by a unified version of three different warrior-mage aspects of Elric from other dimensions. These sci fi touches prove to be very satisfying raising the Elric Saga above the level of pure fantasy literature.

Some content has an even balance of both genres, such as the Saga graphic novel from Image First and Vampire Hunter D videos and manga. These examples weave a tight assimilation of both genres which makes them more engaging than if the stories were purely sci fi OR fantasy. The rising popularity of sci fi fantasy may be due to creators of strictly science fiction or fantasy finally running out of ideas for original material inside the stylistic boundaries of each genre. Maybe audiences really like the idea of adventure that weaves starships and spells, and content creators are simply producing what they want.

Obviously, not all content is benefitted by crossing genres all of the time. Tolkien’s Hobbit and Lord of the Rings are perfect just as they are; adding sci fi would seem gimmicky and forced. But as more and more derivative, formulaic content falls flat on bookshelves, Netflix and app stores, the innovative allure of sci fi fantasy will continue its steady expansion into the popular mind.

Review: Marvel Secret Wars 2015

In the second of this two part series on the Marvel Comics Secret Wars graphic novels, we will look at the 2015 edition.

Based loosely on the original storyline (see previous post), Secret Wars 2015 begins with the end of the Multiverse at the hands of The Beyonders, a group of omnipotent beings from another dimension. Unable to stop the destruction of the Multiverse, Earth’s superheroes (and a few supervillains) launch two efforts; one is to provide escape from annihilation for a chosen few in starfaring ‘life rafts’ and second, to confront The Beyonders themselves in order to destroy them and acquire their unlimited power.

Both plans succeed in a way. From the ashes of the Multiverse, none other than Dr. Doom emerges as god, recreating a planet called Battleworld from the remains of all that was. The life rafts containing select heroes and villains from the previous reality lie buried in the ground, the passengers in suspended animation. The inhabitants of Battleworld are oblivious to their previous reality, knowing only that which their overlord wants them to know.

God Emperor Doom’s patchwork kingdom has a distinctly medieval quality that represents science fiction fantasy well. The visual experience of this 9 issue series is a beautifully rendered integration of traditional pencil and ink media with vibrant digital color. The characters look legendary, although likenesses are somewhat inconsistent in a few places (Mr. Fantastic’s eyes are brown in one issue and blue in another). The environments of Battleworld are richly cinematic and engaging, a reward for the eyes. Doom seated on a throne made from the Yggdrasil world tree is particularly original and evocative.

The story tells just how much comics and audiences have evolved in the 30 years separating the two versions of the Secret Wars. While the original Secret Wars was written so that new readers could get involved with the characters and action in any given issue, the 2015 version assumes its readers are familiar enough with the Marvel Universe to not need background information laid out for them. Also unlike its predecessor, the 2015 Secret Wars features a more obscure cast (Where’s Cap? Where’s Iron Man?), demonstrating how diverse and specialized Marvel titles have grown in the past 30 years. While the new version has some major plot holes, such as Dr. Doom being omnipotent but not omniscient (really, guys?), the story arc still pays off in the end.

So which version of Secret Wars is better? If you have the means, get both and decide for yourself. For a straight-ahead story drawn in the classic Marvel style, check out the 1984 edition. For a more complex story with next-limit art, grab the 2015 Secret Wars. Both are vibrant, wide-angle entertainment.

Review: Marvel Secret Wars 1984

In a two part series, we will review the Marvel Comics Secret Wars graphic novels from both 1984 and 2015 beginning with the original version. Taking place in a 12 issue series, the widespread popularity of the first major crossover event in the Marvel Universe would go on to inspire countless other crossovers. The ‘Secret Wars’ title, interestingly enough, came from Mattel toys, who partnered with Marvel to release the first line of Marvel action figures.

The Secret Wars is an exciting sci fi-fantasy adventure featuring some of our favorite superheroes and supervillains such as The Avengers, Dr. Doom, The X-men, Spiderman, Ultron, Iron Man,  Galactus, The Wrecking Crew, The Lizard  and many others. This medley of characters are set against each other by an omnipotent antagonist, known as the Beyonder, on a remote planet called Battleworld. The Beyonder promises to grant the victors of the Secret Wars anything they can imagine, studying them in order to understand the nature of desire.

The Secret Wars is an example of classic Marvel writing and artwork. Comic books were once written so that new readers, including those who had never read a comic before, could get some basic idea of the powers of the characters and what was going on in any given issue. Secret Wars is a fine example of this. The storyline is easy to follow and widely imaginative, showcasing the ensemble performance of the cast in an authentic light. Of particular interest are the interactions between characters like Captain America and The Wolverine, who until this series, had not appeared on the page together. Secret Wars also features some scandalous cross title romances between both heroes and villains.

The characters are rendered with emphasis on action, such that even if they are only standing there they seem engaged and engaging. Characters are also drawn so that they look the same throughout the story due to the use of model sheets (visual reference drawings that help likenesses stay consistent). The machines, structures and environments of Battleworld are rich in detail and variety.

The only criticism is regarding the cover of the  graphic novel which is based on the #1 issue in the series. Alex Ross, who painted the new cover following the original 1984 layout, is a master artist without peer, perhaps the very best in the industry. That said, the style of rendition he used works against the medium of comic books as a gateway for fantasy. To a degree, the less realistic the characters look the easier it is for readers to fantasize that they themselves are their favorite hero. Ross’s artwork looks like portrait paintings of real people, so detailed and lifelike that no one would ever recognize themselves in the heroes faces.

Proving to be the most interesting of all The Beyonder’s test subjects is the archfiend Dr. Doom. We gain insight into Doom’s innermost desires and memories as The Beyonder examines him before Doom succeeds in taking The Beyonder’s unlimited power through cunning and sheer force of will. Doom undergoes the greatest change of all the characters as he struggles with the mind-boggling consequences of limitless power

For young comic book fans interested in the Marvel legacy as well as fans classic Marvel who missed the original series, the 1984 Secret Wars graphic novel receives the utmost recommendation from Sci Fi-Fantasy Blog.

Story Aspects of Sci Fi-Fantasy

What are the basic elements that make Sci Fi stories different from those of Fantasy? And how are they similar? James Cameron’s Avatar follows the plot of Disney’s Mulan very closely, and the original Star Wars was influenced by the 1958 samurai film The Hidden Tower, set in feudal Japan. Tolkien’s Lord of the Rings was inspired by the modern day horror of both World Wars, which were propelled by industrial technology. I assert that there are no storylines exclusive to either Sci Fi or Fantasy; rather both genres draw from a common source deep within the human psyche.

Throughout history, the archetypal symbols found in dreams of people from all over the world gave rise to mythology and fairy tales. Carl Jung, in Man and His Symbols, pg. 87, stresses the definition of an archetype as both a symbol or image and the feeling or emotional energy carried by that image. Childlike primal instincts, fantasies, and belief in magic call to our rational waking selves through the language of dream imagery. These symbols have endured in the collective consciousness due to the emotional charge they carry, forcing the dreamer to pay attention to them and seek out their meaning despite not making rational sense.

One example of an archetype common to both Sci Fi and Fantasy content is the Hero. The Hero’s story arc, as detailed in Joseph Campbell’s Hero with a Thousand Faces, begins as if by accident in ordinary life, revealing another world of mysterious wonder. The Hero crosses the threshold of adventure and is faced with an impossible challenge before emerging victorious and returning to the familiar world. Other aspects common to both Sci Fi and Fantasy stories include the archetypes of Paradise, The Underworld, The Dark Forest and The Labyrinth, with characters such as The Wise Man, The Great Mother, Angels and Demons.  These archetypes spring from the genetic blueprint of our original nature, explaining why the myths of people from around the world since time began have so much in common.

An example of a film which succeeds in synthesizing aspects of both Sci Fi and Fantasy is The Empire Strikes Back, the masterpiece of director Irving Kershner. Presenting the futuristic Star Wars adventure like a fairy tale, Kershner evokes a childlike fascination from the audience. His understated camera lens allows us to focus on the characters, and ultimately to see ourselves in them.

Stories of both Sci Fi and Fantasy genres inspire courage in both the young who face the inescapable uncertainty of adult life, and the elderly who face what lies beyond. They lend meaning to an existence riddled with opposites, leading us to become who we are.