Rebooting the Spiderman franchise so soon after the very successful Sam Raimi trilogy was never going to be an easy task for Director Marc Webb. The three films, featuring Toby Maguire as Peter Parker/Spiderman are the fifth, sixth and seventh highest grossing superhero movies ever – a testament to their popularity.
While Webb did introduce a few new elements into the story, including a more confident Peter Parker played by Andrew Garfield, and a continuing subplot concerning Peter’s parents, it did not reach the heights of its predecessors.
That may also turn out to be the case with The Amazing Spiderman 2: Rise of Electro. If so it will be through no fault of those involved in
the film, for they have done – if you’ll pardon the pun – an amazing
job.
The chemistry between Garfield and Stone was one of the positives to come out of the first film, and that has continued, and even improved in the second. So too has the performance of Garfield. His honest portrayal of Peter Parker, of the highs and lows he goes through as a teenage superhero, have you investing in the character as the movie progresses.
He takes the time to talk to those he has rescued, even while chasing a truck through the city, and when he catches up with the criminals is never short of a wise crack.
Despite this sometimes teenage brashness, Peter Parker is a nice kid, and warming to Garfield was not difficult. A scene in which he protects a young boy from bullies is a fine example of this. His conversation with the boy could easily have been condescending, instead, it was as I said – honest.
Andrew Garfield as Spiderman
There are better villains, and more of them. Jamie Foxx is a bit over
the top as Electro, but as the whole concept of an electrified glow in
the dark villain is too, that can certainly be forgiven. Dane Dehann is
suitably creepy as Harry Osborne, and later the Green Goblin. While the always delightful Paul Giamatti makes a short, but memorable appearance as the Rhino at the end of the film. Both should be back for the third installment.
The special effects, as expected are excellent, and not particularly
overused considering the genre. The story is cohesive and interesting, giving the cast something to work with, and they all do their jobs well. Too often, a decent story is neglected due to the overuse of CGI. That certainly isn’t the case here. Indeed the two Marc Webb films are two of the few I would actually recommend seeing in 3D. Particularly when Spidey is swinging through New York.
While Marc Webb’s first foray into the Marvel universe was not as successful at the box office as both he and Marvel would have liked, I am certain this one will do a lot better. It certainly deserves to.
It doesn’t seem that long ago when waiting for the release of the next superhero movie seemed interminable. Not so now. In April alone, Marvel Studios released the sequels of both Captain America and The Amazing Spiderman.
Not satisfied with two superhero blockbusters in quick succession, Marvel will also release the fifth X-Men movie (seventh if you count the two Wolverine films), in only three weeks.
With an estimated budget of 250 million dollars, X-Men Days of Future Past is perhaps Marvel Studios biggest gamble to date.
Although the previous X-Men films have all done well at the box office, they have depended heavily on international movie goers to turn a profit. In the United States, most barely made their money back. In fact the previous X-Men offering, 2011’s First Class, actually lost money in the US.
So what of the film itself? Based on a storyline spanning two 1980 issues of The Uncanny X-Men, Days of Future Past is set in a future where mutants are not only confined in internment camps, they are hunted down and killed. On the cover of the original comic are pictures of various X-Men, some with the word ‘apprehended’, and many with the word ‘slain’, written over their faces. In the comic, Kitty Pride (Shadowcat), casts her mind back to her past self, gathering the X-Men from that time to prevent the act that initiated this severe anti-mutant sentiment. In the film adaptation, it is Wolverine (Hugh Jackman), who’s mind is cast back.
X-Men Days of Future Past original comic book cover and movie poster
In a recent interview to promote the film, director Bryan Singer spoke of why this particular storyline was one he was eager to explore. “The reason the story stands out is because it paints the world of the future as one of defeat”.
“It asks the question, ‘how do you find redemption in a world of defeat?’
Being set in two different times, many of the X-Men appear as their older and younger selves, allowing Singer to bring the cast of X-Men First Class, and the previous three X-Men films together. Magneto is played by both Ian McKellen and Michael Fassbender, while James McAvoy and Patrick Stewart return as Professor Xavier.
Hang on though. Didn’t Professor Xavier die in X-Men Last Stand? Well yes he did, but, as is Marvel’s want, a clue to his resurrection was given after the end credits had finished. “A lot of people never saw that scene at the end of the credits, so they assumed I’d been killed off,” Stewart explained in an interview with Total Film magazine last month.
James McAvoy, Hugh Jackman and Nicholas Hoult in a scene from X-Men Days of Future Past.
As the plot of the film has been veiled in secrecy, it is hard to establish how closely related the film will be to the original comic book story. However, what is known is that the opposing mutants put their disagreements aside to fight for a common cause, and as mentioned above, Wolverine’s mind is cast back to his younger self.
At some point Professor Xavier will somehow actually meet his younger self – in a scene Patrick Stewart describes as, the “most important in the film.” He will also be more involved in the action this time around. In ‘Days’, he dons his own leather suit, and flies around on a ‘hoverchair’.
There will be characters that do not survive. Although who, and how many remains a mystery. One thing that is certain though, is that there will be some left, as Singer has signed on for the next X-Men movie ‘Apocalypse’, which is due for release in May of 2016.
X-Men Days of Future Past opens in cinemas on May 22nd.
Who is the biggest, or most popular superhero in the world?
Finding the answer on the internet is not as easy a task as one might think. The results are as numerous as they are varied. Most, are the individual writer’s opinion. While others, although based on evidence, only concentrate on one aspect of media that superheroes appear in. Very few, if any, actually take into consideration, all forms of media through which fans can access their favourite superhero.
A child may spend their pocket money on Superman comic books. However that same child will most likely have seen ‘The Man of Steel’ at cinemas at least once, and now owns the DVD. This is probably stored on the same shelf as their Superman and Justice League animated feature films. They probably also watch Superman cartoons on television, and have all manner of Superman paraphernalia scattered about their bedroom.
So to truly answer the question of who the biggest superhero in the world is, all forms of media they appear in must be taken into consideration.
Superheroes were of course, introduced to us originally through comic books. During the ‘golden age’ of comics in the 1940’s, individual issues featuring Superman, Batman and Captain Marvel, regularly sold over a million copies each in the United States alone.
Although global figures are hard to pin down, over a billion comic books were sold in the United States alone in 2013 – up five percent from the previous year. This created over 3.7 billion dollars in revenue for publishers. The two most successful of course, being Marvel, with 36.97 percent, and DC with 33.35 percent.
The three biggest selling individual comic books sold in the US in 2013 were the number one issues of Justice League of America (326,000), Superman Unchained (259,100), and Guardians of the Galaxy (221,200). Superior Spider-Man issue one sold 216,700 copies to come in a close fourth.
Is it Spiderman?
However the individual superhero that sold the most comic books by far in 2013 was Batman. Batman comics (excluding Justice League and Superman/Batman), had 17 entries in the top 100, selling 1.96 million copies.
With around 900,000 individual copies sold, and nine entries in the top 100, Spiderman came in second, while Superman was third with five entries, and 740,000 copies sold.
Of all the mediums that superheroes are now presented through, the closest relation to the original comic book is the animated cartoon. Becoming popular in the late sixties, superhero cartoons have become an institution on children’s television.
Although there are no real figures to use as evidence, an internet search of the most popular cartoon featuring a superhero, will show that eight times out of ten, Batman: The Animated Series is rated number one on any given list. The majority also have Batman Beyond in their top ten, so given the overwhelming anecdotal evidence in his favour, Batman comes out on top again.
Using that same evidence, Superman is the next most popular, followed closely by Spiderman and Wolverine. Ensemble cartoons featuring The Justice League, X-Men and the Avengers also feature prominently.
Ever since DC’s Justice League first made their debut in 1960, publishers have recognised the enormous popularity in uniting individual superheroes into teams. That popularity has translated to film. Marvel’s The Avengers, released in 2012, is the highest grossing superhero film to date, having taken in more than 600 million dollars at the box office.
Or Ironman?
Coming in second, and the first of the individual superhero films is The Dark Knight (2008), having grossed 535 million, followed at three by the Dark Knight Rises (2012) with 448 million.
However when assessing who the biggest superhero in film is, box office figures alone cannot tell the complete story. Since Superman premiered in 1978 the world’s population has grown by a third. There are also more cinemas from which to watch movies, and since Batman has been in far more films than any other superhero, he would easily come out on top.
Buzzfeed.com have come up with a formula that does not just rely on box office receipts. Considering many different factors, they have given each superhero ‘a weighted film rating’, and come up with a top twenty.
The top five on that list of 20 are Batman (3.4), Spiderman (3.26), Ironman (2.98), Superman (2.93), and Wolverine (2.13).
The global combined box office of those top twenty superhero films is an astounding six billion dollars.
Amazingly though, that same figure is generated each and every year through superhero merchandising. DC and Marvel both made three billion dollars from merchandising last financial year, placing them in the top five merchandisers globally.
In 2012, following the release of The Avengers, The Dark Knight Rises and The Amazing Spiderman, the competition for merchandising sales between DC and Marvel was at its fiercest. However Batman merchandise outsold the other two comfortably, with DC producing more than 1000 different licensed products for the Dark Knight Rises alone.
From the evidence presented here, there is no doubt who the winner is. While Spiderman, Superman and Iron Man have tried hard, Batman has come out on top in every category, and next month, when he celebrates his 75th birthday, he will do so as the biggest superhero in the world.
Batman is easily the world’s biggest superheroComic sales figures supplied by Diamond Comic Distributors. Movie box office figures supplied by Box Office Mojo.
The University of Wollongong Unibar, last night played host to their annual ‘Superhero and Villains’ party.
In what event organiser Kayla Berry describes as a, “great way to kick off the mid-session recess”, students and punters alike descended on the Unibar dressed as their favourite superhero or villain.
The night was a great success says Kayla. “It was a decent turnout. Perhaps not as many turned up as last year, but those that did were really enthusiastic, and it seemed everyone had a great night.”
Unibar manager Nathan Stratton agreed. “The superhero and villains party has become sort of an institution,” he says. “Everyone comes here to have a bit of fun. There’s a great vibe about the night.”
Although there was an abundance of Batmen and Supermen (and their female equivalents), many other heroes, and villains attended the event.
Josh Hammond arrived in an amazing home-made costume of Ironman – complete with lights, while other well-known superheroes including Spiderman, Green Arrow, Wonder Woman, Thor, The Human Torch and Robin put in an appearance.
There were also many lesser known superheroes in attendance. Some I dare say created that very day, such as Auskick Man, Vegeta, The Red Woman and Duckface.
Luke Skywalker dropped in, and a little while later, when Darth Vader arrived, you could actually feel the subtle shift in ‘The Force’. This was balanced somewhat when Jesus Christ graced us with his holy presence, but things started to go awry again when Death – complete with scythe, entered the fray.
These two denizens of evil were well supported by the Joker, Twoface, Poison Ivy, Catwoman, Deadpool, Jigsaw and Evil Mouse. Hannibal Lector was also in attendence. Not surprisingly though, he sat on his own for much of the night.
The tension in the bar soon became palpable as old rivalries, put aside for most of the night, raised their ugly heads. However the night was saved by the appearance of Duffman, who was more than willing to share his ‘wonderful Duff’ in an attempt to postpone the inevitable fisticuffs.
The two groups of adversaries (at peace, at least for now, thanks to Duffman), let off steam for the rest of the night on the dance floor, with live music provided by Sheer Khan, and DJs, The Blockrockers.
Towards the end of the 1940s, sales and interest in superhero comic books began to decline. However three superheroes did make their debuts on the big screen in that decade. Batman (1943), Captain America (1944), and Superman (1949), were all featured in film serials.
Then in 1952, Superman made his television debut in ‘The Adventures of Superman’, starring George Reeves as the Man of Steel. The television series ran for six seasons, the last three of which were filmed in colour.
The success of the series slowly rekindled the public’s interest in superhero comic books. In a bid to capitalise on this, DC’s Robert Kanigher and Carmine Infantino reimagined the Flash. Although perhaps a risk, it paid off. Sales of superhero comics increased quite dramatically, and this surge was the beginning of the ‘silver age of comics’, which would last throughout the 1960s, and into the early 1970s.
The 1960s began with the formation of the Justice League, who appeared for the first time in ‘The Brave and the Bold’ issue 28, in 1960. The ‘League’ brought together DC’s Superman, Batman, Wonder Woman, Green Lantern, The Flash, Aquaman and Martian Manhunter, to battle the evil alien, ‘Starro’.
Although DC had previously introduced the Justice Society in 1944, it was predominately a permanent band of minor heroes, which occasionally featured major superheroes such as the Flash and Green Lantern. The name was changed to the Justice League, and the minor heroes were replaced with DC’s major heroes. The concept was a resounding success.
In 1961, Atlas Comics, along with its subsidiaries merged, and formed Marvel Comics. Although Marvel’s first offering was a science fiction comic, the success of the Justice League prompted editor in chief Stan Lee to create the Fantastic Four in 1941. This began a hugely successful era for Marvel when the majority of their most iconic superheroes were created.
The team at Marvel, which included Lee, Jack Kirby and Steve Ditko introduced Spiderman and The Hulk in 1961. The following year saw the debuts of both Ironman and the X-men, as well as The Avengers (Marvels version of DC’s Justice League). The Avengers originally included Iron Man, Ant-Man, the Wasp, Thor, and the Hulk, with Captain America joining soon after. This was followed by the introduction of Daredevil in 1964, and the Silver Surfer in 1965.
With such a prolific output of iconic superheroes during this short period of time, it is no surprise the sixties are sometimes referred to as the ‘Marvel Age’, by comic historians.
Then in 1965 Lorenzo Semple Jr was approached by then ABC producer William Dozier, to help bring Batman to the small screen. Although television executives expected a gritty drama, Dozier and Semple Jr. gave them an outrageously camped up and comedic adaptation of the caped crusader.
The series premiered in 1966, and ran for three seasons, made up of 120 episodes. Such was its popularity, it aired twice weekly during the first two seasons.
Starring Adam West as Batman, and Burt Ward as Robin, the series also boasted a talented array of guest actors, who lined up to play the various villains on the show. Caesar Romero, Eartha Kitt, Burgess Merideth, Julie Newmar, Frank Gorshin and Vincent Price all starred as adversaries of the dynamic duo at different times.
The popularity of the television show was transferred to comic book sales, and by the end of the sixties, the superhero comic book industry was the healthiest it had been since the late 1930’s and early 1940s.
I was never a big Captain America fan growing up. I cannot recall buying a single comic book of his, even though most of my pocket money as a child was spent on comics. That being said though, I thoroughly enjoyed Captain America: The First Avenger, released in 2011.
The most impressive aspect of the first film was the credibility of the storyline. Albeit, one based on a comic book character. It did not overuse computer generated imagery (CGI), and the way in which Captain America was brought from the 1940s, to the 21st century was (given the genre), plausible.
The same cannot be said for its sequel, Captain America: The Winter Soldier.
Even for a movie based on a comic book superhero, the storyline is, dare I say it, comical. While the premise and origin of the assassin known as ‘the winter soldier’ is perfectly acceptable, everything else in the film is just too over the top. However perhaps the films’ biggest fault lies in that it seems to completely ignore the existence and events of 2012’s ‘The Avengers’.
Given the circumstances Captain America finds himself in, it is unreasonable to think that other members of The Avengers would not be called in to assist him. Particularly given that the algorithm the film centres on, comes up with Bruce Banner’s (The Hulk) name as a future threat. Not to mention the discovery that Tony Stark’s father’s death was not an accident, as previously thought, and the fact that the fate of the world is at stake.
Chris Evans as Captain America in a scene from the movie
This was not the case with either Iron Man 3, or the second Thor film. Both were released after The Avengers, yet both followed on smoothly from the events of that film. In Iron Man’s case, coming to terms mentally with what occurred in The Avengers, and Thor having to team up with his adopted and now imprisoned brother Loki – the villain of the ensemble film.
The film makers could have concentrated more on the antagonism and personal connection between The Winter Soldier and Captain America. Instead it is just one small part of a convoluted myriad of senseless sub plots that do not really come together. Nor fit in with previous films set in the Marvel universe.
Of course the special effects are amazing, but there is nothing new of note, and it has all been seen before. If anything, the film relies too much on CGI, which while being momentarily satisfying, is hardly memorable.
The acting is solid, but nothing more. Although given what they have to work with, the cast hardly be criticised for that. Even Robert Redford’s presence in the film cannot raise it above its own mediocrity.
However, despite all of the above Captain America: The Winter Soldier does provide a couple of hours of escape from the real world. And as long as you leave logic, and any great expectations at the door, those two hours can also be entertaining ones.
Captain America: The Winter Soldier is currently in cinemas.
Marvel studios announced this week that a previously unidentified film scheduled for release on 6th May 2016, would in fact be the third installment of the Captain America franchise.
The announcement has caused much debate within the industry, as only last week Warner Bros. announced that the highly anticipated, but as yet unnamed ‘Superman versus Batman’ movie will open, at least domestically, on the same date.
Although at this stage neither studio is willing to budge, that will surely change. To open both films on the same day would be an appalling business decision by both studios, as each movie would eat heavily into the profits of the other.
Of course the studios are blatantly aware of this. Warner Bros president of domestic distribution Dan Fellman, admitted as much to Bloombergs after the announcement. “It doesn’t make a lot of sense for two huge superhero movies to open on the same date.” Although he added that, ”at this time, we are not considering a change of date for Batman vs. Superman.”
Joe Russo, who co-directed Captain America – The Winter Soldier, and will again be sitting in the director’s chair for the third installment was more pragmatic. In an interview with Digital Spy he said, “Everybody likes to imagine a flame war that’ll start over this but it’s not,” he said. “It’s two big movies on a date – neither studio is crazy enough to eat up each other’s profits. At some point, somebody’s going to move off the date.”
New York investment analyst Alan Gould agrees. “I don’t think the studios or the theatres would be happy to see this,” he told Bloombergs. “I would be surprised if they didn’t end up changing these dates.”
Ben Affleck is receiving similar criticism to Michael Keaton, when he was announced as the new Batman in 1988
What is making the situation even more interesting is the perhaps surprising position of strength that Marvel finds itself in at the moment. Had Christian Bale been willing to reprise his role as the Dark Knight for the Superman vs. Batman film, there is little doubt that Marvel would back down. However with Ben Affleck set to debut as Batman in the new film, the landscape has changed.
Affleck is drawing the same criticisms from the public that Michael Keaton (1989), and Bale (2005) himself received when they were given the roles of the Caped Crusader. Of course now the debate is ongoing about who out of the two was actually the best Batman, and Affleck may end up being better than both. For now though, there is no fan loyalty to the actor playing the part.
That is not the case with Captain America. By the time the third instalment comes along, it will be the fifth time that Chris Evans appears as Captain America (Avengers: Age of Ultron is due for release in 2015), and his fan base is assured. The recently released Captain America: The Winter Soldier, has earned more than 200 million dollars worldwide in less than two weeks, and is the number one movie not only in the States, but in China and Russia as well.
I must admit I wasn’t expecting much from The Amazing Spiderman. I knew the special effects would be great, but I had my doubts whether Marc Webb would be able to add anything new and interesting to the Spiderman franchise, particularly since it has only been a few years since the Sam Raimi version was in theatres.
Well he did, and he didn’t.
The casting of Andrew Garfield as Spiderman/Peter Parker was a great choice. Gone is the klutzy and nerdy Peter Parker played by Toby Maguire in the Sam Raimi version. In his place is a normal kid (although very intelligent), who while not being the most popular student at his school is not the class dork either.
This version of Spiderman also concentrates more on what happened to Peter’s parents, and the effect that has had on him. The discovery by Peter of his father’s suitcase and the ensuing investigation, is what leads him to becoming Spiderman. This investigation into his parents’ disappearance will apparently be one of the common threads that will tie in future installments of Webb’s Spiderman.
Gone also was The Daily Bugle, J Jonah Jameson and Mary Jane Watson, and although they will all return in The Amazing Spiderman 2, due out in 2014, I did miss the ranting’s of JJJ, portrayed so wonderfully well by J. K. Simmons in the previous version.
Marc Webb has instead used Gwen Stacey as Peter’s love interest in his adaptation, played very serviceably by Emma Stone, and to be honest the chemistry between Stone and Garfield is much better than that between Toby Maguire and Kirsten Dunst, who played Spiderman and MJW respectively in the Sam Raimi films.
Denis Leary who is always good joins the cast as Gwenn’s father – police Captain Stacey, and as is becoming a trend in super hero movies, big name actors are playing the parts of the hero’s parents, or in this case uncle and aunt, with Sally Field and Martin Sheen taking on the roles of Aunt May and Uncle Ben. Both, as usual give very polished performances.
The excellent Rhys Ifans plays the one armed Dr Curt Conners, who used to work with Peter’s father at Oscorp until he disappeared, and since then has been struggling to complete their work on cross species genetics on his own; unable to discover the final equation that will allow it to go forward.
Peter supplies Conners with the equation, and following pressure from his boss at Oscorp tests the formula on himself. Of course it has unintentional side effects, and as well as repairing his lost arm, turns him into a giant lizard who then wreaks havoc throughout New York; as well as trying to turn everyone else in the city into creatures like himself.
And the battle between Spiderman and the Lizard begins.
Marc Webb has done a fine job. There are holes in the script and story, but they are not that noticeable, and it can get a bit cliched at times, but these things are to be expected in a big budget film such as this – they can also be forgiven.
All in all, I thoroughly enjoyed The Amazing Spiderman, and am looking forward to the next installment of Marc Webb’s version, which at this stage will see Jamie Foxx playing the villain Electro and is due out in 2014.
The Amazing Spiderman premiers on Seven and Prime Saturday 12th of April, 9pm
1940 saw Batman become the senior partner of the dynamic duo when Robin was introduced in issue 38 of Detective Comics. The Boy Wonder attracted a younger audience that until now had been largely untapped, and sales of the publication doubled. The Green Lantern and The Flash also made their debuts in 1940, and the following year saw Wonder Woman and Aquaman introduced.
While all of the superheroes mentioned were published by National Allied (which would eventually become DC Comics), other publishers also recognised the publics’ fascination with superheroes.
Timely Comics, which would later become Marvel, introduced The Human Torch (no relation to Fantastic Four version), Namor the sub-mariner, and Captain America. Although out of the three only Captain America is well known today, during this ‘golden age of comics’, sales of each issue consistently passed the one million mark.
However, by far the most popular comic book superhero of the time was Captain Marvel, who first appeared in Whiz Comics issue two in 1940, and was published by Fawcett Comics. Captain Marvel was to comics in the forties, as the Monkees were to music in the sixties. He was created solely to sell comic books.
Fawcett Comics circulation director Roscoe Kent Fawcett came up with an ingenious marketing ploy. At the time, Superman was the most popular comic book, but Fawcett (or someone working for him) recognised that the younger market – except for Robin – had no hero they could relate to. So he called in his staff, and demanded of them, “Give me a Superman, only have his other identity be a 10- or 12-year-old boy rather than a man”.
They came up with Captain Marvel. Or at least the third incarnation of the character created by Bill Parker in 1939, who began life as Captain Thunder, before becoming Captain Marvellous, and finally Captain Marvel.
Like Superman, Captain Marvel could fly, had super strength, and speed, and had an alter ego who worked for a newspaper. Unlike Clark Kent though, his secret identity was a 12 year old homeless boy named Billy Batson, who sold newspapers.
Captain Marvel was an instant success, and was soon the highest selling comic book in the United States. He was even outselling Superman, and at the peak of his popularity, approximately 1.4 million copies of each issue of Captain Marvel were sold.
Such was the public’s fascination in Captain Marvel, in 1941, a 12 part film serial was produced. Making him the first ‘real’ Superhero to appear on screen.
Hoping to take full advantage of the massive popularity of superheroes, publishers wanted more of them. Two of the more enduring characters created during this time were the Green Lantern, who made his debut in 1940, and the Green Arrow, who made his first appearance in More Fun Comics in 1941.
Captain Marvel was the first ‘real’ superhero to appear on screen in 1941
Lorenzo Semple Jr, the man who transformed the Dark Knight of Gotham, into a Campy Crusader more suited to a float in Sydney’s Gay and Lesbian Mardi gras, than hunting criminals in the dead of night, died on Friday from natural causes in his home in Los Angeles.
Semple Jr was an American playwright and screen writer who while living in Spain in 1965 was approached by then ABC producer William Dozier. Dozier wished to know if he would be interested in helping to develop a new television series based on the comic book superhero Batman.
Although the network expected the new show to be a drama, Semple and Dozier did not. They thought the idea of a multi-millionaire who dressed up as a bat to chase down criminals was ridiculous, so they wrote the script for the pilot accordingly.
They wanted Batman to be as campy as possible, and Adam West who played Batman, and Burt Ward who played Robin did not let them down. Neither did the various villains who appeared throughout the shows run. All played by reasonably well-known actors of the time including Cesar Romero as the Joker, Burgess Meredith as the Penguin, and Julie Newmar and Eartha Kitt as Catwoman.
The pilot was picked up and the show quickly became a success. Semple wrote the scripts for the first four episodes, then became Executive Story Editor for the remainder of the first season. He also wrote the screenplay for the 1966 Batman feature film.
After leaving the Batman series Semple began writing screenplays for feature films, including Papillon (1973), Three Days of the Condor (1975), King Kong (1976), and Never Say Never Again (1983).
In early 1938 National Allied Publications were looking to publish their fourth comic book. They had released the highly successful Detective Comics the previous year, and co-owner Jack Liebowitz wanted to capitalise on that success with another similarly themed comic book.
Due to time restraints editor Vin Sullivan was having difficulty finding a lead feature for the new comic, so he turned to former co-worker Sheldon Mayer for help. Meyer came across a series of strips that had previously been rejected, and Sullivan agreed to use them as long as the creators – Jerry Siegel and Joe Shuster – could paste the strips into a 13 page feature.
They were able to do so, and in April of 1938 the first issue of Action Comics was released to the American public. The comic was an anthology of eleven stories, and on its cover featured the title character of Siegel and Shuster’s lead story lifting a car above his head. This character was of course Superman.
National Allied released 200,000 copies of the first issue which were quickly sold out, although they failed at first to recognise that Superman was largely responsible. It was not long before Action Comics was selling in excess of a million copies a month, and in 1939 Superman was given his own stand-alone comic book.
Due to the overwhelming success of Superman, editors at National Allied began searching for new superheroes. In response Bob Kane came up with the idea of the Batman. Although credited for many years as the sole creator of Batman, in reality the character was actually very much a collaboration between Kane and another comic writer – Milton “Bill” Finger. Finger designed the costume, wrote many of the stories, gave Bruce Wayne and Gotham City their names, and created the Batmobile and Batcave.
Batman made his debut in Detective Comics issue 27, and was an instant success. That success has continued to this day. In both January and February of this year Batman was the highest selling comic book in the US, and sales are sure to increase dramatically next month when the caped crusader celebrates his 75th birthday.
With the introduction of Superman and Batman came what historians consider to be the ‘golden age of comics’. Lasting a little over a decade this was when comic books were at their most popular, and when some of the most famous and enduring superheroes were created.
Although superheroes did not begin to appear in comics, nor the term actually phrased until the early twentieth century, superheroes can be found in literature throughout history. Many of the heroes of antiquity such as Hercules, Samson, Achilles and Perseus were endowed with powers that exceeded those of mortal men.
A superhero is defined as being a “fictional hero having extraordinary or superhuman powers”. Doesn’t this definition describe the four figures above, as much as it does Superman, Batman, Captain America or Spiderman?
Indeed the conception for many of today’s superheroes can be found in these heroes of the past. The most obvious of course being Thor – the Nordic god of thunder. There is also the Amazonian Wonder Woman, and the Flash, who shares many similarities to Mercury, the fastest of the Roman gods.
Be that as it may, the first superheroes, as we think of them today appeared in the early twentieth century. The Scarlet Pimpernel was perhaps the first, appearing in a 1903 play, then crossing over into literature, and eventually film. He popularised the notion of a masked avenger defending the innocent and powerless. A nobleman by day, the scarlet Pimpernel would disguise his identity and audaciously rescue unfortunates who were destined for the guillotine.
Then in 1919, Zorro made his first appearance in “The Curse of Capistrano”, a five part serial featured in All Story Weekly, and in 1933 The Lone Ranger made his debut in a radio show broadcast by Detroit station WXYZ.
However, probably the first superhero to appear in a comic strip was Mandrake the Magician. Created in 1934 by Lee Falk, Mandrake used his extraordinary powers of hypnosis to fight crime by rendering criminals impotent with terrifying illusions. He proved to be so popular, that Falk was asked to create another comic strip for the newspaper.
He initially presented the publishers with a comic strip based on the legendary English King, Arthur, which they quickly rejected. It was this rejection that led him to create The Phantom, who made his debut in February of 1936. Falk originally imagined that the Phantom would be the alter ego of rich playboy Jimmy Wells. However, his love of myths and legends led him to set the character in the fictional African country of Bengalla, where the mantle of the Phantom has been passed down from father to son for twenty generations. Although the Phantom in Falk’s strips is actually the 21st reincarnation of the crime fighter, the outside world believes there has ever been only one, so he is also known as the ‘ghost who walks’, and ‘the man who cannot die’.
It was not until the 1940’s that the Phantom started to appear in his own comic book, and continued to do so until 1995, when DC decided to end his run. However the Phantom still appears in newspaper comic strips around the world, almost 80 years after he made his debut.
Superheroes: From Comic Books to the Big Screen 