Violencia aceptada en los comics

What got me intrested in this topic? To be honest I never knew I was into this topic that much, until I had some sort of revelation one night. As I thought night after night what to do for my thesis, I kinda had the subject…which was “comics”, but what about them didnt seem to come through. It wasn’t until my friend Sergio Romero brought me the whole collection of Batman”THANKS SERGE!”. He adviced me to ignore the first 200 issues…Never got the point to that request, so I began reading Batman from the first comic. That had to be the sissiest Batman and Robin I had ever seen and read…That’s when I first got the idea to compare those type of characters back then to the ones now whom get showered with violence each day.

I have to admit, I haven’t neccesarily had the best disney childhood. Wait a minute…I dont think I’ve ever seen a Disney movie…I grew up with Resident Evil, Mortal Kombat, Street Fighter, First person shooters, and a whole lot of martial art movies. Thats why when I was in the presence of violence, I couldn’t tell it was violence. It all seemed natural to me…I mean, what kind of kid has Steven Segal as his hero at the age of 6? “ahem” the answer to that: me. Yeah, I know…don’t ask.

The point to these long and biblical paragraphs is that like me, the whole generation Y has been bombarded with violence since we were born. I hate to say this, but it’s only going to get worse as time progresses. Back to my topic though, comics. Have we literaltly accepted this violence because we like it? Or is it a way to keep us in control as some sort of therapy? Anyhow, staye tunned!

Excuse the tardiness, I’ve been tied up with other work. I know I haven’t posted in awhile, but just to let you know- The script has already been started and character concepts will be ready for the first presentation on Oct.5th. The comic its well on its way- and I’m sure everyone will enjoy this.

Pablo Sanchez

http://en.wikipedia.org/wiki/Antihero

In fiction, an antihero^[1] (feminine: antiheroine) is a protagonist whose character or goals are antithetical to traditional heroism. The term dates to 1714^[2], although literary criticism identifies the trope in earlier literature. ^[3]

History

There is no definitive moment when the antihero came into existence as a literary trope. The antihero has evolved over time, changing as society’s conceptions of the hero changed, from the Elizabethan times of Faust and William Shakespeare’s Falstaff, to the darker-themed Victorian literature of the 19th century, such as John Gay’s The Beggar’s Opera or as a timid, passive, indecisive man that contrasts sharply with other Greek heroes ^[4] to Philip Meadows Taylor’s Confessions of a Thug. The Byronic hero also sets a literary precedent for the modern concept of antiheroism.

Distinction from Byronic and tragic heroes

The Byronic hero is a rebellious antihero who is sympathetic despite his rejection of virtue. ^[5]

Antiheroes differ from Tragic heroes because a tragic hero is still primarily heroic but with a major tragic flaw, while an antihero’s flaws are more prominent than their heroic qualities.

http://www.answers.com/topic/anti-hero

also n., pl. -roes also -roes.

A main character in a dramatic or narrative work who is characterized by a lack of traditional heroic qualities, such as idealism or courage.

antiheroic an’ti·her·o’ic (-hĭ-rō’ĭk) adj.
antiheroism an’ti·her’o·ism (-hĕr’ō-ĭz’əm) n.

anti‐hero or anti‐heroine, a central character in a dramatic or narrative work who lacks the qualities of nobility and magnanimity expected of traditional heroes and heroines in romances and epics. Unheroic characters of this kind have been an important feature of the Western novel, which has subjected idealistic heroism to parody since Cervantes’s Don Quixote (1605). Flaubert’s Emma Bovary (in Madame Bovary, 1857) and Joyce’s Leopold Bloom (in Ulysses, 1922) are outstanding examples of this antiheroic ordinariness and inadequacy. The anti‐hero is also an important figure in modern drama, both in the theatre of the absurd and in the tragedies of Arthur Miller, notably Death of a Salesman (1949). In these plays, as in many modern novels, the protagonist is an ineffectual failure who succumbs to the pressure of circumstances. The anti‐hero should not be confused with the antagonist or the villain.

El tema de Tesina sigue en pie, La violencia aceptada a travez del tiempo en los comics. Para mi obra plastica y projecto final para la Escuela de Artes Palsticas- hare un comic tradicional que demuestre como la violencia se ha ido colando poco a poco en nuestra sociedad. Y lo llevere a cabo de forma psycologica usando el villano como anti-hero. Si no entienden ahora, les prometo que van a caer en cuenta cuando empieze con las ilustraciones :P.

The Golden age was the launch for most of these guys. We’re talking late 1930s almost 40s. Here we were introduced to characters like Superman, his amazing powers, and what a secret identity for these characters was. Most of the most popular DC heroes started off in what’s known as the “Golden age”.

Golden Age

(During World War II, superheroes grew in popularity, surviving paper rationing and the loss of many writers and illustrators to service in the armed forces. The need for simple tales of good triumphing over evil may explain the wartime popularity of superheroes. Publishers responded with stories in which superheroes battled the Axis Powers and the patriotically themed superheroes, most notably Marvel’s Captain America as well as DC’s Wonder Woman.

After the war, superheroes lost popularity. This led to the rise of genre fiction, particularly horror and crime. The lurid nature of these genres sparked a moral crusade in which comics were blamed for juvenile delinquency and the United States Senate Subcommittee on Juvenile Delinquency began. The movement was spearheaded by psychiatrist Fredric Wertham, who famously argued that “deviant” sexual undertones ran rampant in superhero comics.^[17]

In response, the comic book industry adopted the stringent Comics Code. By the mid-1950s, only Superman, Batman and Wonder Woman retained a sliver of their prior popularity, although effort towards complete inoffensiveness led to stories that many consider silly, especially by modern standards. This ended what historians have called the Golden Age of comic books.)

http://en.wikipedia.org/wiki/Superhero#History_of_American_superheroes_in_comic_books

The mythologies of many ancient civilizations feature pantheons of gods and goddesses with superhuman powers, as well as demigods like Heracles and heroes such as Gilgamesh and Perseus.^[13][14] Later, folkloric heroes such as Robin Hood and the 19th century protagonists of Victorian literature, such as the masked adventurer The Scarlet Pimpernel, featured what became such superhero conventions as secret identities. Penny dreadfuls, dime novels, radio programs and other popular fiction of the late 19th and early 20th centuries featured mysterious, swashbuckling heroes with distinct costumes, secret identities, unusual abilities and altruistic missions. These include Zorro, the Green Hornet, the Scarecrow of Romney Marsh and Spring Heeled Jack, the last of whom first emerged as an urban legend. Likewise, the science-fiction hero John Carter of Mars, with his futuristic weapons and gadgets; Tarzan, with his high degree of athleticism and strength, and his ability to communicate with animals; and the biologically modified Hugo Danner of the novel Gladiator were heroes with unusual abilities who fought sometimes larger-than-life foes.

The most direct antecedents are pulp magazine crime fighters — such as the “peak human” Doc Savage, the preternaturally mesmeric The Shadow, and The Spider — and comic strip characters such as Hugo Hercules, Popeye and The Phantom.^{[citation needed]} The first masked crime-fighter created for comic books was writer-artist George Brenner’s The Clock,^[15][16] who debuted in Centaur Publications’ Funny Pages vol. 1, #6 (Nov. 1936). In terms of superhero type characters, many people consider the first appearance of Superman in Action Comics #1 (June 1938) the point at which the comic-book archetype began.