DC Comics vs. Marvel – Rivalry and Inspiration

Jeff

Rivalry and Inspiration

by Jeff Bowles

Marvel and DC Comics have been crosspollinating, competing, and succeeding together for decades. What began as an off-brand creation for DC, the birth of superheroes as we know them, eventually spawned a mega-industry convolving print media, film and television, video games, toys, corporate sponsorship, underoos, you name it. Together, the two powerhouse entertainment companies, along with their parent ownership (let’s not forget Warner Bros. and Disney), are responsible for billions of dollars of revenue and international commerce every single year. You see their most popular characters everywhere you go, Superman, Batman, Wonder Woman, Spider-Man, Iron Man, Captain America.

So is it a wonder, then, that when asked to tell the difference between the two comic book universes, most people honestly can’t decipher what makes DC and Marvel unique. The truth is, that crosspollination factor is very much at play. Read a batch of comics from each company week-to-week and you’re likely to find tonal and stylistic identicality. It’s a bit of a brand new urban entertainment legend that DC is always dark and Marvel is always light. Not the case at all. In fact, the two competing companies more or less share the same pool of creative talent, so it’s only natural they do the flip-flop thing often.

But there are differences, right? I mean, there must be. Why, for instance, do so many DC characters wear capes? And why does Marvel tend to have a long tradition of Cold-War-era nuclear-radiation-themed heroes and villains? All of it, really, boils down to the eras in which the two pantheons germinated and hit their stride.

Marvel vs. DC

You see, DC Comics more or less invented the superhero with the publication of Action Comics #1. This was the first appearance of Superman, who was just different enough from other square-jawed comic protagonists of the time to birth an industry unto itself. Most of DC’s core character lineup can be traced to the year 1938, and to the decade or two that followed. Batman, Wonder Woman, The Flash, Green Lantern, Doctor Fate, The Spectre, Captain Marvel (now known as Shazam), all created by or incorporated into the DC Universe in what fans refer to as the Golden Age of comic books. And before you ask, yes, there is a silver age, which is when a company first known as Timely rebranded itself with a new outlook and a new creative modus operandi.

In 1961, the freshly minted Marvel Comics introduced The Fantastic Four, the success of which spawned more creations, like Thor, The Hulk, Black Panther, Doctor Strange, Ant-Man and the Wasp, and The Avengers. The impetus of the changes Marvel instituted came as a direct result of actions taken by—surprise, surprise—DC Comics. When DC revamped their aging golden-age superhero line in the late 1950s, Timely and then Marvel felt the need to pump up the bandwidth, as it were.

Here lies the crux of the matter: whereas most of DC’s heroes and villains had roots in mythology, noir, world war, and light science fiction, areas of entertainment particularly appealing to Americans in the 1940s and 1950s, Marvel took a much more grounded approach, one rooted in the realities of the Cold War circa 1961.

DC was a bit gun-shy about placing their heroes in the real world. They’d been punished for doing so before, by the federal government, no less, with the introduction of the Comic Code Authority. In their universe, the Cold War barely existed, or in the very least, it was handled with kid gloves. But for Marvel, it was essential as an ingredient for a new type of superhero pantheon that exploited a changed American mindset. The difference became even more crucial as the 60s progressed and social issues and politics came to the forefront.

Fantastic Four #1

The Fantastic Four, The Incredible Hulk, The Amazing Spider-Man, The Uncanny X-Men, Daredevil, All of these Marvel characters have roots in the post-nuclear age. Most of them were straight-up irradiated in order to receive their powers. The funny thing is, DC was so overwhelmed by Marvel’s real-world approach on both creative and financial fronts that they were forced to fight dirty and head straight into the storm. This is when Green Arrow’s sidekick became a heroin addict, Batman at last became the grim avenger we all know him as today, and even Superman had questions about authority.

As I said, crosspollination. It’s doubtful the two companies would exist in the forms we recognize today if not for the contributions and competition of the other, and I think the creators and staff at both Marvel and DC would be amongst the first to admit it.

As the years went on, of course, rampant similarity became the norm. Each company has its own distinct history, has made differing business decisions, big-tent pole story events like the Infinity Saga at Marvel or Crises on Infinite Earths at DC, but in the end, the real differences come down to when and where each set of core characters were birthed.

Being much older, DC has felt the need to “reboot” their characters and settings multiple times, which often leads to confusion amongst non-fans, particularly when it comes to origin stories, which can vary widely from one character iteration to another. Even big players like Superman and Wonder Woman have been imagined in so many different ways it’d make your head spin. Marvel has toyed around with this as well, though to a much lighter extent. The truth is, when you’re playing with DC, you never really know which version of any given hero or villain you’re going to get. The distinction is even more evident in light of contributions from Hollywood, which I’ll touch on next.

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Avengers: Endgame

As most people on the planet are aware, Marvel is by far the most popular of the two companies in the year 2020. It has nothing, or almost nothing, to do with the comics anymore. Superheroes and supervillains have gone mainstream in a huge way, and Marvel reigns supreme at the box office. However, DC tends to have them beat on television. The CW, for instance, has an entire mini DC Universe with shows like The Flash, Supergirl, Legends of Tomorrow, Arrow, and new entries Batwoman and Stargirl. The Arrowverse, as it’s known, is not as good as some halfway decent mega-budget Hollywood movies, but hey, it works for most fans.

DC also has Marvel beat on the animation front. Marvel doesn’t really bother with this in a serious way, but DC has a long tradition of cartoon versions of their classic stories. They’re also less of a slouch in things like video games, or last they have been historically. Marvel launched a pretty massive Spider-Man game in 2018, and they’re following it up this year with an impressive looking stab at their flagship series, The Avengers. Coming to a home console near you this Fall, kids. Conglomerate synergy at its finest.

Well, that just about wraps it up for Superhero/Supervillain month here on Writing to Be Read. We hope you’ve enjoyed our comic themed articles all month long. Check back in the archives if you’d like to read more. Maybe we’ll do it again next year. 😊

I’d also like to say that no matter which team you prefer, Marvel and DC always have and always will do their level best to entertain the hell out of you. Both companies come from humble roots, and there have been times throughout the years money seemed more important to them than fans, but they usually come around to the right way of thinking. The gift of entertainment, it’s a high calling in my book. So much of what gives my life meaning as a writer is my ability to wow, shock, and please, and I owe a good portion of that ability to the likes of Marvel and DC. Thanks for reading, guys. See you on the flip.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Chatting with the Pros: Interview with best selling author Kevin J. Anderson

Chatting with the Pros

I am so pleased to welcome my author guest this month on “Chatting with the Pros”. He is the most prolific writer I know and he’s written numerous books that have made international bestsellers lists. He’s best known for his science fiction and fantasy stories, but he’s done a good amount of writing for hire and lives by the motto of, “I can do that”. I’ve asked him to join me here today as we celebrate superheroes and supervillains, because of one single book that he wrote, Enemies and Allies, which delves into the universe of superheroes, in hopes that he will share with us his unique perspective on this often overlooked genre. Please help me welcome Kevin J. Anderson.


KJA

Kaye: When did you know you wanted to be an author?

Kevin: When I was five, even before I could write. I knew I wanted to tell stories.

Kaye: You’ve been on bestseller lists, won multiple-awards for your writing, had your books made into screenplays, published both short fiction and novel length works, collaborated with some big name authors, and started your own independent press. In your own eyes, what has been your greatest writing accomplishment to date?

Kevin: I think the greatest thing is being able to do what I love and actually make a living at it—not getting one thing published, not winning an award, not seeing a movie option on one of your stories, but by being able to do this not as a hobby, but as the thing by which I pay the bills. I’ve been full time for 25 years now. I’m probably unemployable otherwise.

Kaye: Do you remember the first book you ever read?

Kevin: THE TIME MACHINE by HG Wells

Kaye: In Enemies & Allies, who was the most difficult character to write? Why?

Kevin: Superman/Kal-el/Clark. Sometimes he comes off as a simplistic boy scout, but I really think I got to the core of why he’s a superhero, and why he’s very human at the same time.

Kaye: How does writing a superhero or a super villain differ from writing plain old heroes and villains? What makes super heroes so special?

Kevin: They can do bigger, more epic things, which is great fun as a writer, but you also have to give them greater weaknesses. The things they do MATTER to the future of the world and the human race, not just “Gee, who’s going to ask me to prom?”

Enemies and Allies

Kaye: In Enemies & Allies, which superhero did you favor, Batman or Superman?

Kevin: I found Batman much easier to write and understand, a gritty lost soul, and so I worked a lot harder to get just as deep into Superman, to flesh him out more, and I think I succeeded in finding a very good balance between the two extremes while keeping them both heroes.

Kaye: What is the hardest part to writing a super villain?

Kevin: Supervillains are fun. You can be as twisted as you want and you can dive into their motivations. Why are they the bad guy?

Kaye: Which would you rather write, a superhero or a super villain? Why?

Kevin: Supervillains. But in most of my writing I try to make it a matter of perspective as to who is the villain and who is the hero. Depends on what side you’re on.

Kaye: Do you see superhero/supervillain qualities coming out through the characters in your other stories? Which stories do you see this in most?

Kevin: I still consider them all as characters, with good sides and bad sides, each with powers or skills. I have only done two superhero books out of my 165 titles, so actually approached it the other way around, bringing all my other writing skills to bear in a novel featuring superheroes.

Kaye: Imagine a future where you no longer write. What would you do?

Kevin: Wait, another apocalypse???  Hmmm, if I couldn’t write, I would be a publisher or a public speaker or a teacher…but I’m already doing those things.  In these times, you can’t just be ONE thing.  If I had to scrap everything related to the industry, I suppose I would be a forest ranger, because I love the outdoors.

Kaye: Is there anything unique or unusual about your writing process?

Kevin: I get a lot of attention because I do all my writing by dictation, talking into a digital recorder while I hike. But I have been doing it for thirty years, so I don’t consider it unusual at all.

Kaye: Which is your favorite type of writing? Short fiction? Novels? Comic Books? Screenplays? Poetry? Graphic Novels? Why?

Kevin: Novels. I like the big scope, a project I can sink my teeth into and spend lots of time developing it.

Kaye: What advice do you have for aspiring authors?

Kevin: Don’t quit your day job. Keep writing and refining and getting better, and never stop.

Kaye: What do you think is the single most important element in a story?

Kevin: It’s not a single-element thing. It’s like saying which is the most important wheel on your car. You have to get the plot, the characters, the prose, the worldbuilding, the idea, everything.

Kaye: What is the one thing in your writing career that is the most unusual or unique thing you’ve done so far?

Kevin: Probably working with legendary Rush drummer Neil Peart to convert the last Rush album, Clockwork Angels, into a bestselling novel. One of my proudest accomplishments.


I want to thank Kevin for joining me today and sharing his insight into the making of a superhero or supervillain, and his thoughts on writing. Kevin is currently working in the fantasy realm, with his newest thoughts on Gods and Dragons. You can learn more about Kevin and his books at WordFire Press or on his Amazon author page.

Also, Kevin’s convention bookstore is no longer traveling, so there are a lot of signed copies of his books in inventory right now, as well as some obscure and hard to find books. Some sets discounted to half-price or even more, including all six original Dune books for $30. You can check out the selection at http://www.wordfireshop.com.

Join me next month, when we will be delving into speculative fiction, and my “Chatting with the Pros” author guest will be Dave Wolverton.


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The History and Evolution of Comic Books

Jeff

Powers in Motion

by Jeff Bowles

As a storytelling medium, comic books have been around longer than anyone living today. Some disagreement exists among historians as to just what the first published example is, but more or less, comics have been with us since the mid-19th century. Certainly, they didn’t explode into absolute pop culture dominance until the advent of superheroes and supervillains, their best-known and most beloved subjects of exploration, but the truth is millions upon millions of comics have sold in all the time since.

It goes without saying that if not for the creation of one very special character, comic books would not exist in the form in which they do today. In 1938, two young men from Cleveland, hard-up for more satisfying and lucrative creative endeavors, concocted a simple yet compelling narrative based on the biblical stories they’d grown up with. An infant savior from another place, sent from on high by his father to protect and guide humankind. Jerry Seigel and Joe Schuster were thinking more Moses than Jesus, but the Judeo-Christian allegory that is Superman tapped into something deep within the psyches of readers everywhere.

When DC Comics published Action Comics #1, the first appearance of the Man of Steel, the company had no earthly concept what they were unleashing on the world. The first appearance of Batman followed a year later, and quick on his heels were characters like The Flash, Green Lantern, and Wonder Woman. Sales were massive for this new kind of storytelling, so full of color and simple, easy-to-understand moral allegory. Until Superman showed up, comics were usually about hard-as-nails detectives and avengers of the night who could neither fly nor leap tall buildings in a single bound. But Supes, he was different.

It was and still is widely accepted that comics are for children, but adults like them, too. In fact, as the Allies went to war in Europe and the Pacific, young servicemen and women brought their recreational reading habits to the front lines. Japan in particular adopted comic books with unrestrained delight. In the year 2020, they remain the top producer of the entire global industry, having created a literary genre unto itself in Manga.

Back in the US, the end of World War II brought with it new social standards, including a certain suspicion of the medium. It became widely believed that comics contributed to childhood delinquency, vandalism, and violence. Senate hearings were held on the matter, not unlike those that plagued the video game industry after the Columbine massacre. In both cases, the federal government imposed rating systems, and at least as far as comics were concerned, the high flying antics of superheroes were dragged a bit closer to earth.

In the 1950s, comics gained a squeaky-clean image, which contributed to their overall decline in sales. It seemed that the original generation of kids who had embraced characters like Superman and Batman had grown up, and they were by no means interested in overtly sanitized farces. Network television had a hit on their hands with the George Reeves Superman show, carried over to some extent by earlier radio productions. But the comic book itself faced its first major hurdle: people just didn’t care anymore.

Times change, and so do the kinds of stories we like to tell each other. In 1961, Marvel Comics (formerly, Timely Comics) got into the superhero game in a big way with the introduction of Fantastic Four #1. This single issue began what enthusiasts call the silver age of comic books, and creators Stan Lee, Jack Kirby, and Steve Ditko didn’t stop there. Many other characters emerged from their Manhattan offices: Spider-Man, Iron Man, Thor, The Incredible Hulk, The Uncanny X-Men, Doctor Strange, Ant-Man, Black Panther, all created within the first ten years of the company’s resurgence. They even added an old figure from their distant past to the roster of the newly-minted Marvel Universe. Captain America is almost as old as Superman, but he’d been all but forgotten by fans until Stan Lee decided to pull him from the ice.

The medium exploded in popularity once more, and the 1970s saw advancements that began eschewing the now decades-old Comics Code Authority. DC, for instance, who initially struggled to keep up with Marvel’s perceived hipness, got into all the major social battles of the time, including equal rights, racism, drug addiction, and violence against women. The decade introduced some of the most compelling and sophisticated comic stories told to date, and Marvel and DC became twin powerhouses of an artform many had thought dead and buried.

In 1978, Warner Bros. produced what many consider to be the first serious superhero film, Superman: The Movie. Demand for the character and other DC properties climbed to dizzying heights. In the decade that followed, comics continued to mature, became darker and much more adult, featuring storylines and characters that took advantage of the public’s newfound love of antiheroes. Marvel made huge waves with the likes of The Punisher, Venom, and new takes on classic characters like Spider-Man, The X-men, and The Avengers. Over at DC, things got even more experimental, with major new series like Watchmen and Batman: The Killing Joke, not to mention the introduction of their Vertigo imprint, which exclusively publishes adult-only material

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A new collector’s market formed around special releases and big-stakes stories that reset the board, such as The Death of Superman and the first issue of Marvel’s five-variant-cover X-Men #1. Like so many other markets built on false commodity, however, the bubble eventually ruptured, and comics have seen a slow but steady decline in sales ever since. DC has faired pretty well historically, partially because they were acquired by Warner Bros. in 1969. Marvel, on the other hand, slipped into bankruptcy, and only barely pulled themselves out by the skin of their teeth.

By the late 1990s, the future of comic books was in question. It had become clear that the business of printing colorful heroes and edgy villains was on shaky ground, but the new millennium heralded in a trend few in the industry saw coming.

DC had always had hit-and-miss successes with their film division. Though 1978’s Superman and 1989’s Batman were big for their time and place, superhero movies were still widely considered risky business. In 1998, Marvel Entertainment co-produced a film based on their daywalking, vampire-slaying Blade character. Though the film did average box office, Marvel viewed it as a sign of bigger and better things to come. Two years later, they released an X-Men movie which fared much better, and two years after that, it was Spider-Man’s turn.

Marvel earned one success after another at the box office, creating new film-based iterations of classic characters like The Hulk, The Fantastic Four, and Daredevil. But it wasn’t until 2008 and the release of a little movie called Iron Man that everything changed. At the time, Marvel Entertainment and producer Kevin Feige hatched an idea to do for their movies what Stan Lee had done for their comics back in the early ’60s, namely, they decided to turn them into a working shared universe. Marvel released a few key introduction movies and then bet the farm on 2012’s The Avengers.

The absolute financial and critical dominance of that movie was eclipsed only by its potential for more stories and even bigger box office hauls. Disney bought Marvel in 2009, adding significant distribution and funding prowess to the small company that had almost folded not ten years prior. Though DC and the WB have tried to match the success of the Marvel Cinematic Universe, the decade ending 2019 was completely dominated—in one form or another, it seems—by characters created by Stan Lee and his successors.

But what about comic books themselves? Do people still read them? Do they still sell? More or less, they do, though even fans get the sense the comic divisions of the big publishers only exist to fuel their filmmaking endeavors. Marvel, DC, and others still know how to tell great stories, and they do it every single week, every month, every year. More major contributors to the industry include Darkhorse, Image, IDW, and Valiant. Comics are not now and have never been solely about superheroes, and the indie space in particular proves that this kind of storytelling is open and ready for all.

Regardless of how you feel about the dominance of comic-bookisms in our culture, the slow decline of the publishing industry beneath it, and the ultimate moral ambiguity of “good guys” who beat the crap out of “bad guys”, the fact remains that comics have been a force of societal transformation for over eighty years, longer in fact, when you factor in the storytelling traditions at play, some of which are as ancient as humankind itself. The first comic book, published in the 19th century, whatever it may have been, set a ball rolling that continues to, well, crush the life out of everything in its path.

Only one question needs to be asked at this point: who do you like better, Marvel, DC, or the bold and bombastic characters of some other powerhouse company? Sound off in the comments section below, guys. And continue to stay tuned all May for more superhero/supervillain themed articles and posts right here on Writing to be Read. Excelsior!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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You can keep up with all of Jeff’s posts right here on Writing to be Read. Subscribe to email or follow on WordPress today.


Jeff’s Movie Reviews – DC Comics Gets Animated

Jeff's Movie Reviews

Cartoon Justice

by Jeff Bowles

This month on Writing to be Read, we’re exploring superheroes and supervillains, so for May’s movie review, I thought I’d discuss a lesser known corner of the major comic book film adaptation landscape.

DC Comics and their parent company/distribution overlord, Warner Bros., have gotten a bad rap for producing superhero films that simply don’t meet the bar established by their rival, Marvel Studios. Well allow me to clue you in on one area DC has Marvel beat: animated films. Direct-to-video, barely seen by non-fans, but actually pretty good and by and large, better than their big-screen live action cousins.

apokolips war

Justice League Dark: Apokolips War

Warner’s animation division has a long history of excellent superhero storytelling. Warner Bros. has owned DC since the 1980s. It took Marvel two additional decades to receive studio backing from Disney, probably because Marvel was in bankruptcy until it started making bankable movies like Spider-Man and Iron Man. But back in the early 90s, Warner Bros. and DC created the Emmy-winning Batman the Animated Series, which still holds up as one of the greatest Saturday morning cartoons of all time. All these years later, that same group is still together. They have released over fifty (count them, fifty) feature-length animated films that cover all areas of the DC universe.

Whereas Marvel requires audiences to have prior knowledge of their storylines before going into any given sequel, the DC animated film series rarely contains that much connective tissue, except in their main Justice League storyline, which just wrapped up this week with the release of Justice League Dark: Apokolips War. Now that’s spelled Apokolips rather than apocalypse; we’re talking a fire planet ruled over by Thanos-clone and best-dressed uber-villain of the year, Lord Darkseid. And that’s spelled Darkseid rather than dark side, because, well, he was created in the 1970s, and everyone in the comic industry at that time was on copious amounts of “powdered productivity”.

Justice League Dark: Apokolips War is an excellent animated film, one you may just skip if you’re not a fan. It’s got everything in it faithful DC-heads have come to expect. World-ending cataclysms, fists and superpowers and feats of incredible strength, magic and might, and more major character deaths than you can shake a batarang at.

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John Constantine saves the day in Apokolips War

John Constantine (that’s THE John Constantine, once played by Keanu Reeves in his own major film adaptation) is recruited by the Justice League to take down Darkseid for good. When things go terribly wrong, the population of Earth is more or less decimated, and it’s up to Constantine, a depowered Superman, and a small cast of other heroes to set things right.

Whether they do or not isn’t really the point. This small animated movie takes more risks with its characters than any big-screen Marvel romp. Perhaps because they can afford to. When I say there are a ton of unexpected deaths in this thing, I mean it. You never know who’s going to snuff it, which makes it all the more enjoyable.

The DC animated library is of much higher quality than you may expect. Most entries are made for adult fans, which is how you can justify an R-rating for Apokolips War. For crying out loud, these dying superheroes pop like balloons. Like bloody, spandex-clad, hope-to-see-you-in-the-reboot balloons.

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The Full Breadth of the DC Animated Universe

You wouldn’t want to sit your kid in front of Apokolips War, but the point is that over the course of more than fifty releases, the full breadth and scope of the DC universe has been on full display. We’ve gotten to see all corners and permutations, from Gotham City to Metropolis to outer space and DC‘s dark magical underbelly, loaded with lots and lots of characters the general public haven’t even heard of. If you want your DC education without sifting through stacks and stacks of old comics, these movies may be for you.

Marvel has a great reputation for entertaining if underwhelming storytelling, and right or wrong, they’re also perceived as being the light and enjoyable flip side of DC Comics and their brooding nature. To a certain extent, that reputation is in error. Read some comics from both companies in any given week and you’re likely to find tonal and narrative identicality.

So it’s kind of wonderful to have such a huge library of animated films that communicate what DC Comics is all about far better than their live action equivalents have done. Truth be told, I’d rather watch some of these cartoons than the likes of Batman v Superman or even the much-hyped huge disappointment that was Justice League.

You remember the Justice League movie? Yeah, not many people do, it seems.

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Do I Have Something on My Face?

But a good Justice League cartoon, now that I can get behind. The ending of Apokolips War is perhaps not as definitive as was advertised. Really, it’s just stage one of a massive retooling, but I’m fine with that. The legacy begun by that legendary Batman cartoon series from the early 90s is still in good hands, and you can pick out any one of these animated films and have a pretty good time with it. Plus, they’re all available for digital download and streaming.

Maybe animation isn’t your thing, and neither are comics or superheroes. But the truth is there is a massive installed fanbase that is ravenous for any new story from Warner Bros. Animation. These releases don’t do well financially in the larger sense, but every one of them takes great pleasure and care extoling the virtues of this kind of storytelling.

Batman, Superman, Wonder Woman, and hundreds of other DC characters have gotten time in the limelight, a feat that will most certainly never be repeated in big-budget live action form. So maybe it’s a little silly to get invested in a bunch of cartoons, but if you have any love or curiosity for the full scope of what DC Comics has to offer, this is a great place to dig in and enjoy.

You weren’t planning on leaving the house anyway, were you? Oh, you were? Then stand six feet away and in that direction, please. I’m not Superman, you know.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the third Friday of each month on Writing to be Read. Subscribe to email or follow on WordPress today.


Words to Live By – Look, Up in the Sky!

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The first Wednesday of every month, writer Jeff Bowles muses on life, creativity, and our collective destinies as makers of cool stuff. You’re a writer, but have you ever thought about how or why? Here are some words to live by.

Look, Up in the Sky!

This month on Writing to be Read, we’ll be celebrating one of America’s original storytelling mediums, the comic book. In any other given year, one not smitten with the likes of COVID-19, May would see the release of the latest big-budget movies from Marvel and DC, their publishing divisions would be rolling out their next huge crossover events, and Free Comic Book Day would invite fans and newbies alike to visit their local comic shops and sample what’s available these days.

This year isn’t like any other year, of course. Practically everyone on the planet is being asked to make sacrifices to keep themselves and others safe. Superheroes are great at making sacrifices. In fact, you could say it’s their most important superpower. The truth is we don’t have to go out to the movies or visit a comic shop to witness feats of incredible valor and strength. All we have to do is look at the people around us. In fact, all we have to do is look in the mirror.

Now I know what you may be thinking, especially if you’ve never been a fan of the medium or if you’ve got no love for spandex-clad do-gooders on the silver screen. It is a certainty you’ve noticed Hollywood has pledged a good deal of their resources to the production of films and television series based on superheroes and supervillains. I have to tell you, as a longtime fan, it sort of gives me a thrill. When I was growing up, only nerds liked comics, spotty young men and women who argued with each other about who would win in a fight, Batman or Spider-Man, who dwelt in their parents basements and only went into the sun to hiss at it and then stalk around Lon-Chaney-style, searching for more comics.

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That stereotype isn’t even close to accurate, but look, up until about fifteen years ago, it was supremely uncool to be into this stuff. Which is why I’m so pleased I inherited an absolute passion for it.

My brother, Chris, is ten years older than me, quite an age difference by the standards of most families with only two children. He started reading and collecting comics around about the time I was born, and when I was old enough to read them, he got me hooked as well. I learned so much about my favorite comic characters from cartoons and movies, but it was really Chris who taught me everything I needed to know, who allowed me to glimpse these worlds as they really are: static on the page, but full of life in your mind.

The sum total value of that knowledge is this: comic books are fun, colorful, dynamic, easy on the eyes, and short. Their stories take place over twenty-two pages, and they’re almost always about doomsday scenarios and strong, noble crusaders who nip them in the bud. I remember going through stacks and stacks of my brother’s collection, marveling at the artwork, the boldness and speed of the actual storytelling. Some of the best memories of my life involve curling up with my own short stack of comics. I looked up to Chris with all my heart. I still do. He’s a personal hero of mine.

Lots of people have analyzed the relationship between comics and myth, the Hero with a Thousand Faces, a modern manifestation of our desire for legends and tall tales. But I honestly think people’s love of superheroes, especially in today’s world, stems from a basic psychological need for good examples, guiding lights. If you venture into the world right now, you’ll see that heroes are everywhere. They’re the doctors and nurses staffing our hospitals, putting their lives on the line so we can be happy and healthy. They’re the people who continue to produce and provide us with food, the butcher at the grocery store, the delivery guy who gets your pizza to you right on time.

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Heroes come in all shapes and sizes. Even you, who must battle fear just to run a few weekly errands. And rather than seeing these fictional figures as a breed totally outside our experience, it might be more helpful to analyze their existence in relation to our deepest desires. Maybe we can see ourselves in the likes of Superman and Captain America. It doesn’t take much to look beyond yourself and lend people a helping hand when they need it, and this is the basic nature of the superhero.

Sure, their exploits are silly sometimes, even nonsensical. They wear ridiculous costumes and rattle off cheesy one-liners. You could even argue they set a bad example for young people, because no matter what seems to occur, they almost always solve every problem with their fists. But the truth is the modern world needs them. Realistically speaking, we’ve all got a good guy dwelling in our hearts and minds, and it’s possible, if we really try, to take courage and strength, and at the best of times, to let our inner super shine.

A lot of folks criticize Marvel and DC movies for their overreliance on end-of-the-world scenarios, but it’s all a subconscious thing, isn’t it? We’ve all had our personal doomsdays, have all needed to be strong when fate was against us and luck simply was not on our side. It’s a quaint pastime, reading comic books. There’s nothing magical or mystical about it. Just the enjoyment of disappearing into another world for about twenty minutes, and then reaching over to your brother’s stack and picking out another adventure.

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We here at Writing to Be Read believe strongly in literacy and the spread of a better kind of virus, good storytelling. My storytelling mode of choice is often comics, which taught me right and wrong, strength and courage in the face of adversity, and which allowed me to form a connection with my brother that I value and cherish to this day. I’d be remiss if I didn’t mention my Mom and Dad, who bought us all those comics for all those years. As a writer, I learned a great deal of the craft from this medium. As a human being, I learned everything I needed to know about how to treat others with dignity and respect.

If nothing else, comics are clearly a great bonding opportunity, and in their purest expression, they allow us to feel, if only for a little while, like we too can bend steel, soar through the air, and leap tall buildings in a single bound.

Have a wonderful May, everybody, and tune in all month long for more superhero and supervillain themed posts and articles. We’re all in this together, always have been and always will be. You don’t have to wear a cape and save my life to be a hero in my book. All you’ve got to do is turn to your fellow man, decide you can help, and then do everything in your power to make it happen. Look, up in the sky! It’s a bird! It’s a plane!

Up, up and away, everybody.


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Jeff’s Movie Reviews – For Your Homebound Quarantine Enjoyment: Birds of Prey

Jeff's Movie Reviews

I See Your Giant Mallet and Raise You One Pet Hyena

by Jeff Bowles

As it turns out, a super-scary international virus lockdown isn’t all bad. Sure, you’ve got to muscle retirees out of the way at the grocery store to get a cheap four pack of toilet paper and some frozen peas, but on the up side, Hollywood has released some of its biggest Spring movies to enjoy from the safety and comfort of your own home.

New films like The Invisible Man, Onward, Sonic the Hedgehog, Bad Boys for Life, and Bloodshot are all available On Demand for early rental or purchase, but allow me to recommend a movie that released in theaters in February and immediately flopped. Like big time.

It’s no secret I love comics and comic book movies, but truly, Birds of Prey and the Fantabulous Emancipation of One Harley Quinn is a cut above DC and Warner Bros. typically average-to-poor superhero romps. The title is totally silly and useless, and if they thought it’d fit on any movie marquee in the world they were crazier than The Joker himself, but Birds of Prey turns out to be a smart, funny, aggressive comic flick with a unique quality: it was almost exclusively produced by women.

Not to put too fine a point on the matter, but this arena is and always has been a boys’ club. We may never know why Birds of Prey did such dismal business at the box office. Rest assured, it’s got nothing to do with the quality of the film. Is this a matter of nerdy male resentment? Or do the story and characters simply stray too far from the mythos surrounding these dangerous leading ladies of Gotham City? Maybe the title’s too long. Ehem, DC and Warner Bros., I said MAYBE THE TITLE’S TOO LONG.

Regardless, Birds of Prey is certainly worthy of your attention if you’re into superhero stuff. Heck, it’s worthy of your attention even if you’re not and you simply have too much free time on your hands. You’re not super busy right now, are you? Yeah, thought not.

Harley Quinn as a character goes back to the early 90s. If you’re not familiar with her, she was created for Batman: The Animated Series as a kind of foil or sidekick for The Joker. She was pretty one-dimensional back then, and in the decades since, she’s more often than not been portrayed as a psychotic sex object Batman has to knock out every once in a while. A good precedent for gender equality in comic books? Not especially, but Margot Robbie, who is a legit Oscar-caliber actor, no joke about that, imbues Ms. Quinn with joy and a surprising amount of complexity.

Harley has had a nasty breakup with her beloved Mr. J. While The Joker never appears in this movie in any substantial fashion, his presence is felt in that same way you stick a picture of your ex on the wall and throw knives at it until the sun comes up. What? You’ve never had that experience? Well Harley has, and the aggressive humor and violence with which she picks apart the legacy of her former paramour is sheer genius. In truth, this is more of a Harley Quinn vehicle than an honest story about the Birds of Prey, a DC Comics staple since the mid-1990s. See, in the comics, Harley isn’t even really part of this team, which means characters like Black Canary and Huntress tend to get sidelined. Fans may have had a legitimate reason in this regard for not showing up when they had the chance.

But they really should have, because Birds of Prey and the Fantabulous Emancipation of One Harley Quinn (do I really have to keep typing the whole thing?) is a lot of fun. Ewen McGregor plays the obligatory supervillain, Roman Sionis, the Black Mask. He’s slick, dangerous, neurotic, and that silver spoon in his mouth seems to have calcified his brain. He fills his apartment with brutal oddities from around the world and says “Eww” before he orders one of his goons to slit your throat.

And Harley, God bless her, is an almost perfectly realized, straight-from-the-comics avatar of mayhem. She prefers giant mallets and baseball bats in a fight, dresses stuffed beavers in pink tutus and names them because she’s bored, and owns an actual pet Hyena called Bruce (you know, like that hunky billionaire Wayne guy from TV). Robbie lends Harley a certain emotional fragility in scenes concerning her big breakup, and though this is an R-rated hijinks movie chock full of color and jokes, you get the sense there’s a beating heart under all that clown makeup.

As for the rest of the team, Mary Elizabeth Winstead plays Huntress, a self-trained crossbow assassin with a slight case of social disfunction, Rosie Perez is rebellious and jaded Gotham City PD detective Renee Montoya, and Jurnee Smollett-Bell plays Dinah Lance, the Black Canary, who’s singing voice is just a skoch more powerful than your average lounge lizard’s. Writer Christina Hodson and director Cathy Yann do their best to flesh out the actual Birds of Prey, but listen, this is Harley’s movie, so no unnecessary character development allowed. Insanity comes in lots of different forms, and for about an hour and forty-five minutes you’ll find yourself in a version of Gotham City that A). exists almost completely in daylight, and B). is more Loony Tunes than Dark Knight.

This is a distinctly feminine superhero movie, and it doesn’t mind making all the bad guys men. I’m sure Warner Bros. and DC questioned whether it’d be lucrative. Turns out, it wasn’t. Still, it’s a much needed shot in the arm to the preexisting DC film universe, which for the most part has grown stale. Birds of Prey doesn’t really break the mold as such. It’s still about solving problems with fists and hamming it up real 1960s Batman TV show style, but Harley Quinn stands on her own two feet and kicks ass. Fans who appreciated the morose and overly serious Joker standalone movie last year might find Birds of Prey silly and quaint, but if you’re like me and Joker rubbed you the wrong way, you could do worse than wasting a couple hours on your sofa, streaming one of the most underrated comic book movies of the last several years.

Coronavirus quarantine kinda sucks, but it doesn’t mean we can’t still have a laugh or three. Dr. Harleen Quinzel is most definitely all about the laughs. It’s just too bad the other leading ladies of Birds of Prey have to take up her sidelined, sidekick, side-character mantel.

Jeff’s Movie Reviews gives Birds of Prey and the Fantabulous Emancipation of One Harley Quinn (one last time. Phew.) a cocaine-snorting, beanbag-gun-toting 8 out of 10.

Being the Clown Prince of Gotham is all well and good, but Joker had better watch his back. Unless of course male comic nerds are threatened by strong leading women. That’s not a thing, is it? Surely not. Preparing sarcasm protocols in three, two, one … engage!


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the third Friday of each month on Writing to be Read. Subscribe to email or follow on WordPress today.


Jeff’s Movie Reviews Presents: Rise of the Comic Book Film

Jeff's Movie Reviews

Dollars, Cents, and Superpowers

by Jeff Bowles

There was a time comic book adaptations were a non-starter for the majority of moviegoers. For every generally well-liked superhero movie, like 1978’s Superman: The Movie or 1989’s Batman, there were at least a dozen examples of comic films gone wrong. For one, the Marvel Universe was bargain-basement, low-rent stuff. Old timers will tell you of an era in which Stan Lee’s greatest creations were relegated to B-movie direct-to-video time wasters, most of which were shot and funded outside the Hollywood system. Like, waaaaay outside the Hollywood system.

And DC, the former granddaddy of the genre? They tanked at least two very lucrative franchises because they forgot about pleasing fans and got cynical about their own intellectual property. Nobody, for instance, then or now, was willing to take 1997’s Batman and Robin seriously. For God’s sake, the batsuit had nipples. Holy unnecessary anatomy, Batman! You’ll poke someone’s eye out!

The 21st century, however, has seen quite the reversal in fortune for comic book adaptations. Boy, has it ever. In the year 2020, the biggest, most financially successful films in motion picture history feature superheroes, most of which are Marvel characters, because the notion of a working cinematic universe turned out to be an absolutely genius stroke. So how did this happen? What turned the silliest of nerd pastimes into a multi-billion dollar entertainment powerhouse?

In a few months, Writing to Be Read will be running some special articles in honor of national comic book month. May, by the way, is usually the time Marvel unleashes its biggest contender for the year. 2019’s Avengers: Endgame was a blockbuster of epic proportions, and over at DC, they’re cooking up a Wonder Woman sequel, a possible sequel to the Oscar nominated Joker, yet another Batman reboot, and Birds of Prey just hit theaters last week (and immediately flopped; sorry, DC).

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Two things account for the dynamic transformation comic movies have undergone in the past twenty years: the aging-up of the comic-loving, video-game-playing, anime-watching nerd population, and the success of a movie called Blade.

For those who’ve never seen it (and at this point, it’s a little bit obscure), Blade is a 1998 Marvel action-horror flick starring everyone’s favorite vampire-slaying daywalker. Wesley Snipes took the lead role and made him exceptionally cool. And since he was still a bankable star, the film overperformed. The success of Blade emboldened Marvel to take the plunge and adapt one of their most popular properties, The Uncanny X-Men. Featuring all the fan-faves like Wolverine, Cyclops, Storm, Gene Grey, and Professor X, 2000’s X-Men was not exactly faithful to the source material, but it was thrilling to finally watch a Marvel movie that didn’t suck. Again, the idea of an entire working cinematic universe was just a glint in the eye of current Marvel Studios chief, Kevin Feige. The success of X-Men paved the way for the Spider-Man series, halfway decent adaptations of Hulk, Daredevil, Punisher, and The Fantastic Four, and at last, the granddaddy of all franchise starters, Iron Man.

In truth, however, the modern comic movie owes everything to Superman and its star, Christopher Reeve. His first turn in the famous blue tights hasn’t aged exceptionally well, but it still stands out as one of finest examples of a big-screen superhero adaptation done right. Gone are the childish theatrics and abysmally small budget, the mindless plot, and for the most part, the wink-wink, nudge-nudge counter culture irreverence of something like the 1960s Batman television series. Superman: The Movie took its source material seriously. Richard Donner, the film’s director, insisted on a high level of verisimilitude, which isn’t something most Hollywood filmmakers would’ve gone for. Word has it the original screenwriter—none other than Mario Puzzo of Godfather fame—loaded his script with so many tongue-in-cheek gags the film may as well have been a super-farce. For an entire generation of fans, Christopher Reeve embodied the Man of Steel, fighting for truth and justice, making everyone believe a man could fly.

And of course, historically the franchise bombed out after four entries because, you know, DC. Same thing happened to the Batman franchise in the nineties. The folks at Warner Brothers were so shocked and sickened by Tim Burton’s Batman Returns, they snatched the option to make a third bat-sequel from his grubby, weird, Edward-scissor-like hands and passed it off to the marketing machine. Again, four movies was all that first Batman series got, but by then, the genie was out of the bottle, and it wouldn’t be long until Marvel ruled the roost. Marvel, by the way, had been in bankruptcy right until the time X-Men released in theaters. Quite a Cinderella story for the House of Ideas, one nobody could have predicted two decades ago.

In 2008, Marvel and Paramount Pictures released Iron Man, and it was off to the races. Starring the always impeccable Robert Downey Jr., Iron Man injected new life into the genre, and in so doing, completely rewrote the rules of Hollywood. Over ten years later, the Marvel Cinematic Universe is twenty-three movies strong and still growing. Two MCU movies are scheduled to hit theaters in 2020, Black Widow and The Eternals. The thing about Marvel is they’re willing to take risks, knowing that if they do their characters justice, fans will show up. And we do. In droves.

The MCU is truly a mighty thing, containing team-ups like The Avengers and Guardians of the Galaxy, more experimental and hipper entries like Thor: Ragnarok (and doubtless) the upcoming Thor: Love and Thunder, politically relevant films like Black Panther, and everything in between. Yeah, they’re still just silly comic book movies, but the entire world is in love with them, and their impact on our culture cannot be overstated. Just imagine all those kids growing up with Captain America posters on their walls. That’s a lot of money in the making, and Marvel’s parent company, Disney, knows it.

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The future of this genre is wide-open, and its not hard to imagine a time Marvel and DC have become two of the most powerful and ubiquitous entertainment companies in the world. Their most popular characters are already known everywhere, and they have been for decades. Really, this is just the cherry on top for a literary form invented for children in the first half of the 20th century. Superman wasn’t just the first superhero, he was the first super media product. The chiseled face that launched a thousand ships. And that doesn’t even begin to account for all the successful and wonderful comic book movie adaptations that don’t include a single cape or superpower. Greats of the sub-sub genre include Ghost World, American Splendor, 300, Road to Perdition, and Sin City. Check any of those out for a palate cleanser. You won’t be disappointed.

It’s funny, but the comic book industry itself has only shrunk in recent years. The good news for comic readers is the movies aren’t likely to completely replace good old paper and ink any time soon. After all, where would all those mega powerful, newly wealthy studio execs get their ideas? What, Hollywood come up with something fresh? Yeah. And Captain America is a communist.

Next month we’ll get back to the movie reviews, folks. For now though, go and have yourself a Marvel movie marathon, especially if you’ve never done one before. Yeah, it’s a lot of confusing action and universe-ending doom, but hey, saving the world has never been so fun. Or so lucrative. Am I right, Disney?


Jeff Bowles is a science fiction and horror writer from the mountains of Colorado. The best of his outrageous and imaginative short stories are collected in Godling and Other Paint Stories, Fear and Loathing in Las Cruces, and Brave New Multiverse. He has published work in magazines and anthologies like PodCastle, Tales from the Canyons of the Damned, the Threepenny Review, Nashville Review, and Dark Moon Digest. Jeff earned his Master of Fine Arts degree in creative writing at Western State Colorado University. He currently lives in the high-altitude Pikes Peak region, where he dreams strange dreams and spends far too much time under the stars. Jeff’s new novel, God’s Body: Book One – The Fall, is available on Amazon now!

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Check out Jeff Bowles Central on YouTube – Movies – Video Games – Music – So Much More!


You can keep up on what Jeff’s been watching and catch all of his great movie reviews the second Friday of each month on Writing to be Read. Subscribe to email or follow on WordPress today.


Jeff’s God Complex

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Wonder Woman vs. The God Complex

by Jeff Bowles

Here in the United States, we’re just a couple of days away from the release of the first big-screen adaptation of Wonder Woman, the legendary DC Comics character who’s been trading punches with bad guys since 1941. Early reviews of the film have been overwhelmingly positive, and I couldn’t be more excited to see it for myself.

Wonder Woman is one of my favorite comic book characters of all time. She’s strong, noble, and much like Superman or Captain America, she always seems to do the right thing. Diana Prince, otherwise known as Diana of Themyscira, is a Greek goddess who abandons the only world she’s ever known in order to fight for meek, flawed human beings. The island of Themyscira is home to the proud Amazons, a group of startlingly gifted women who’ll stab your eyes out just for looking at them the wrong way.

Actually, that’s beside the point. They are warriors, fierce battle-hardened females who’ve rarely glimpsed men and the world they’ve brought to the brink of destruction. DC Comics has done an amazing job curating and expanding upon the adventures of Diana Prince and her supporting cast of characters in the last fifteen years or so. Issue after issue of the comic has dealt with divinity, family and politics, and of course, myriad hot-button topics that have in some small way pushed the boundaries of what typical comic fans expect to see.

The upcoming film looks to do the same, though to what degree remains to be seen. As a character, Wonder Woman was created by a male psychologist who was inspired by early feminists. The guy was way ahead of his time, and over the intervening decades, Diana of Themyscira has been portrayed all kinds of ways.  For instance, in the 1970s she was both a television sensation and a hard-hitting exploitation-style street vigilante, minus the tiara and bracelets. Comic book characters rarely stray far from their roots long, however, and elements such as her Lasso of Truth, her invisible jet, and her long-time on-again, off-again love interest, Steve Trevor, have come and gone.

I find it difficult to speak about the impact Wonder Woman has had on young girls and women across the globe, not just because I’m a man, but because it seems like far too large a topic. I think she’s been good for people over the years, and I hope this film delivers the kind of role model kids need nowadays. She’s important to me because growing up on comics meant a steady diet of homogeneous male heroes, and though I don’t consider myself overly political, it always gave me a pleasant feeling digging into that latest issue of Wonder Woman and reading about a damsel who was not in distress, who could handle her own, and who could in fact put the likes of Batman to shame.

Some people out there, I take it, don’t feel the same way. In the news just this morning, some theaters across the country are choosing to run a small number of female-only screenings of the film the day it comes out, distributing advertisements that make clear boys are not allowed. I think this is kind of cool, but right-wing commenters have already made some hay.

Modern America is fraught anyway. If you’re not fuming about the man in the White House, you’re screaming at the other side for their assault on your guy. Very rarely anymore can we have civil conversations about simple things like movies and comic book characters, not without the whole thing devolving into an ideological ant-scatter.

It’s important to point out Wonder Woman is in the minority as far as these things go. Nobody was creating strong female characters back in the 1940s. It just wasn’t done. I read Wonder Woman comics as a kid not because I was interested in feminism but because she was so strong, so very essential to the DC Comics mythos. Every comic fan knows the holy trinity of DC characters: Superman, Wonder Woman, and Batman. Lose any of the three, and the books DC puts out every month just aren’t the same.

And of course, comic book movies in general are big business these days. Love them or hate them—and indeed, many people hate them—they’re a mainstay of cinemas and will be for some time to come. Though early word seems good, the naysayers will quickly poke holes in Wonder Woman’s cultural legend just because they can. Yeah, she’s a strong female character, but she still solves all her problems with her fists. And anyway, the male-driven conglomeration that is Warner Bros. will most likely try to pitch her in a way that doesn’t scare off men and young boys, the latter of which buy DC action figures and other tie-in merchandise by the bucket-full.

Such is the state of discourse in the modern world. Everything is an issue worthy of argument, even a symbol of strength and femininity who’s been around the better part of a century. I can’t say what Wonder Woman means to you. Maybe she means nothing at all, and when you go to the theater this weekend, you’ll be pleasantly surprised by her story. I hope that’s the case, because Wonder Woman has had a place in my heart for a very long time.

If, like me, you do have positive memories of her, perhaps it will be a treat to see Diana depicted in big-budget terms, regardless of whether the end product is actually any good or not. If Wonder Woman is more to you than some silly cultural icon, and if you feel like she’s never been more relevant than she is today, by all means go check the flick out for yourself.

I eschew politics when I can. I also have no children of my own. But if I had a daughter, and she was old enough to see an action film like this, I’d proudly take her down to the multiplex. Maybe afterward, I could turn the excursion into a conversation about standing up for what you believe in no matter what the cost. That’s who Wonder Woman is to me. She doesn’t know discrimination or inequality because she comes from a place where everyone is treated with respect and dignity. She stands up for the little guy, especially when that little guy is actually a girl.

I hate the need some people feel to turn her into a controversial figure. Is her story more than simple entertainment? Yes, I think it is. All the Wonder Woman comics I’ve read over the years are all the proof I need. Yes, she is a strong female who kicks butt and takes names, and yes, whether they want to admit it or not, this makes many people feel uncomfortable or even angry. But if you ask me, the politics is a cover. Wonder Woman is not and never will be just for girls. I love Wonder Woman, and I’m man enough to admit it.

There are so many ways to celebrate the world as men have made it. Is it too much to ask to celebrate the world of women? Even just for an afternoon?


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