His place here is down to JMS' run on the Thor series. JMS gave me a new look at Thor's character, namely giving him epic fantasy, engrossing adventures whilst also humanising the God of Thunder. This lead me to read more into the world of Thor. His place in mythology interested me further as I have always had a soft spot for ancient myths and legends. Thor's nobility, honour and humility make for excellent characteristics for the stoic hero he is. Thor serves as the link between the ancient mythologies throughout human history that created supernatural beings to worship and current comic book superheroes that have become the new modern day myths. This is what makes Thor an engrossing character in a literal god serving as a hero and protector of mankind.
Superheroes come from a wide array of different backgrounds and origins. Some superheroes (for example, Batman and Iron Man) derive their status from advanced technology they create and use, while others (such as Superman and Spider-Man) possess non-human or superhuman biology or use and practice magic to achieve their abilities (such as Captain Marvel and Doctor Strange).[2][3][4] The Dictionary.com definition of "superhero" is "a figure, especially in a comic strip or cartoon, endowed with superhuman powers and usually portrayed as fighting evil or crime",[5] and the Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers; also: an exceptionally skillful or successful person."[6] Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits.
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Some superheroes use their powers to help fight daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superhero's archenemy or nemesis. Some popular supervillains become recurring characters in their own right.
The word superhero dates back to 1899.[7] Antecedents of the archetype include such mythologic characters as Gilgamesh, Hanuman, Perseus, Odysseus, David, and demigods like Heracles,[8][9] as well as folkloric heroes such as Robin Hood, who adventured in distinctive clothing.[10] Real-life inspirations behind costumed superheroes can be traced back to the "masked vigilantes" of the American Old West such as the San Diego Vigilantes[11] and the Bald Knobbers,[12] who fought and killed outlaws while wearing masks.[13] The French character L'Oiselle, created in 1909, can be classed as a superheroine.[14]
In the 1930s, the trends converged in some of the earliest superpowered costumed heroes, such as Japan's gon Bat (1931) and Prince of Gamma (early 1930s), who first appeared in kamishibai (a kind of hybrid media combining pictures with live storytelling),[21][22] Mandrake the Magician (1934),[23][24][25] Olga Mesmer (1937)[26] and then Superman (1938) and Captain Marvel (1939) at the beginning of the Golden Age of Comic Books, whose span, though disputed, is generally agreed to have started with Superman's launch.[27] Superman has remained one of the most recognizable superheroes,[27] and his success spawned a new archetype of characters with secret identities and superhuman powers.[28][29][30] At the end of the decade, in 1939, Batman was created by Bob Kane and Bill Finger.
During the 1940s there were many superheroes: The Flash, Green Lantern and Blue Beetle debuted in this era. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks's character Fantomah, an ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comic #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg".[31][32] The Invisible Scarlet O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility created by Russell Stamm, would debut in the eponymous syndicated newspaper comic strip a few months later on June 3, 1940.[33]
In 1957 Japan, Shintoho produced the first film serial featuring the superhero character Super Giant, signaling a shift in Japanese popular culture towards tokusatsu masked superheroes over kaiju giant monsters. Along with Astro Boy, the Super Giant serials had a profound effect on Japanese television. 1958 saw the debut of superhero Moonlight Mask on Japanese television. It was the first of numerous televised superhero dramas that would make up the tokusatsu superhero genre.[45] Created by Khan Kawauchi, he followed up its success with the tokusatsu superhero shows Seven Color Mask (1959) and Messenger of Allah (1960), both starring a young Sonny Chiba.
It is arguable that the Marvel Comics teams of the early 1960s brought the biggest assortment of superheroes ever at one time into permanent publication, the likes of Spider-Man (1962), The Hulk, Iron Man, Daredevil, Nick Fury, The Mighty Thor, The Avengers (featuring a rebooted Captain America, Thor, Hulk, Ant-Man, Quicksilver), and many others were given their own monthly titles.
In 1963, Astro Boy was adapted into a highly influential anime television series. Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-type series. 1966 saw the debut of sci-fi/horror series Ultra Q created by Eiji Tsuburaya this would eventually lead on to the sequel Ultraman, spawning a successful franchise which pioneered the Kyodai Hero subgenre where the superheroes would be as big as giant monsters (kaiju) that they fought.
With more and more anime, manga and tokusatsu being translated or adapted, Western audiences were beginning to experience the Japanese styles of superhero fiction more than they were able to before. Saban's Mighty Morphin Power Rangers, an adaptation of Zyuranger, created a multimedia franchise that used footage from Super Sentai.[59] Internationally, the Japanese comic book character, Sailor Moon, is recognized as one of the most important and popular female superheroes ever created.[60][61][62][63][64]
In keeping with their origins as representing the archetypical hero stock character in 1930s American comics, superheroes are predominantly depicted as White American middle- or upper-class young adult males and females who are typically tall, athletic, educated, physically attractive and in perfect health. Beginning in the 1960s with the civil rights movement in the United States, and increasingly with the rising concern over political correctness in the 1980s, superhero fiction centered on cultural, ethnic, national, racial and language minority groups (from the perspective of US demographics) began to be produced. This began with depiction of black superheroes in the 1960s, followed in the 1970s with a number of other ethnic-minority superheroes.[71] In keeping with the political mood of the time, cultural diversity and inclusivism would be an important part of superhero groups starting from the 1980s. In the 1990s, this was further augmented by the first depictions of superheroes as homosexual. In 2017, Sign Gene emerged, the first group of deaf superheroes with superpowers through the use of sign language.[72]
An animated short The Ambiguously Gay Duo parodies comic book superheroes and features Ace and Gary (Stephen Colbert, Steve Carell). It originated on The Dana Carvey Show and then moved to Saturday Night Live.
In 2017, Pluin introduced Sign Gene, a film featuring a group of deaf superheroes whose powers derive from their use of sign language. The film was produced by and with deaf people and deals with Deaf culture, history and language.[72][100][101]
Today, we welcome the newest champions of measurement, the League of SI Superheroes. Emerging from their environmentally shielded headquarters around the globe, the superheroes are dedicated to the fight against uncertainty, imprecision and inaccuracy and to improving the quality of our lives and the things we build.
The symbolic and metaphorical associations between fashion and the superhero are explored in this compelling exhibition. Featuring movie costumes, avant-garde haute couture, and high-performance sportswear, it reveals how the superhero serves as the ultimate metaphor for fashion and its ability to empower and transform the human body. Objects are organized thematically around particular superheroes, whose movie costumes and superpowers are catalysts for the discussion of key concepts of superheroism and their expression in fashion.
"In the IDB Group, we value both the results of our work and the path taken to achieve them. There are many development superheroes in Latin America and the Caribbean. Our task is to seek them out and recognize them so that they can inspire us and we can continue learning from their stories," said Lorena Rodrguez Bu, chief of the Knowledge and Learning Division at the IDB. "By systematizing and sharing these experiences, we seek to support the IDB Group's efforts to achieve greater effectiveness in our development projects."
Background: Public health leaders have been criticized for their policy stances, relationships with governments and failure to train the next generation. New approaches to the identification and training of public health leaders may be required. To inform these, lessons can be drawn from public health 'superheroes'; public health leaders perceived to be the most admired and effective by their peers.
Pow! Bang! Kaboom! Power and Responsibility: Doing Philosophy with Superheroes, a SmithsonianX and Harvard Division of Continuing Education course, blends superheroes narratives with the core areas of philosophy.
Pow! Bang! Kaboom! Superhero stories, first arriving on the scene in the late 1930s, are now among the most popular forms of global entertainment. The study of philosophy has been around for centuries. Power and Responsibility: Doing Philosophy with Superheroes, a SmithsonianX and Harvard Division of Continuing Education course, blends these superheroes narratives with the core areas of philosophy. be457b7860
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