A Brief History of Comic Book Movies by Wheeler Winston Dixon

By Wheeler Winston Dixon

A short historical past of comedian booklet Movies lines the meteoric upward push of the hybrid paintings kind of the comedian e-book movie. those motion pictures hint their origins again to the early Forties, while the 1st Batman and Superman serials have been made. The serials, and later tv exhibits within the Fifties and 60s, have been for the main half designed for kids. yet this present day, with the continued upward push of Comic-Con, they appear to be extra part of the mainstream than ever, attractive to adults in addition to more youthful enthusiasts. This e-book examines comedian booklet videos from the prior and current, exploring how those movies formed American tradition from the post-World battle II period to the current day, and the way they tailored to the altering tastes and mores of succeeding generations.

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Planet Hulk (2010) is based on the 2006 comics’ story line of the same name in which a tired Earth’s populace finally blast Hulk off into space, making him someone else’s problem. Lastly, Thor: Tales of Asgard (2011) was criticized for its use of violence, drinking, and sexual innuendo throughout its story of Thor’s treasure-hunt. Cindy White of IGN perhaps said it best about Marvel’s animation projects when she noted that “when it comes to content made just for DVD, DC and Warner Bros. have consistently edged out Marvel with their series of original animated movies, in quality of storytelling as well as animation.

Stryker, played by Brian Cox, is an amalgam of the like-named mutant-hating evangelist in the graphic novel God Loves, Man Kills by Chris Claremont and the mysterious Professor from Barry Windsor-Smith’s series Weapon X. Stryker’s son Jason blends aspects of long-time X-villain Mastermind with Stryker’s stillborn mutant son and Xavier’s own bad-seed offspring. ”—is visualized in a terrific opening attack-on-theWhite-House scene. However, the conflicting plotlines of over a dozen characters started to wear on the screen, presenting viewers with a confusing myriad of potential spin-offs, sequels, and prequels.

Despite his obvious influence on many of the films discussed in this chapter, Moore is deeply disenchanted with all filmic adaptations of his graphic novels and comics, noting that “most of my work from the 80s onwards was designed to be un-filmable” (as quoted in Gopalan). Shortly after the release of Watchmen, Moore left DC and returned to life as an independent artist. In the meantime, DC continued with its series of direct-to-DVD animated superhero films, with such titles as Michael Chang, Ben Jones, and Matt Youngberg’s Teen Titans: Trouble in Tokyo (2006), Lauren Montgomery, Bruce Timm and Brandon Vietti’s Superman: Doomsday (2007), Dave Bullock’s Justice League: The New Frontier (2008), Daniel DelPurgatorio and Mike Smith’s Watchmen: Tales of the Black Freighter (2009), and perhaps most interestingly, Lauren Montgomery’s Wonder Woman (2009), which represented the first time since the Lynda Carter television series that Wonder Woman had appeared in any medium—and now she was being relegated to direct-to-DVD animated status.

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