Tag Archives: Marvel Comics

New Deadpool Cartoon Announced (And Why It Matters)

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In addition to being an aspiring erotica/romance writer, I have a fairly diverse set of interests. I talk about many of them on this blog. I love superhero comics, superhero movies, futuristic technology, and activities that involve nudity. I like to explore these topics because the world is a diverse and sexy place. I want this blog to reflect that, as well as entertain/titillate.

So when news emerges that involves superhero comics and a potential for entertainment/titillation, expect me to mention it at some point. When that news involves someone like Deadpool, a character who has built his entire appeal on that and dick jokes, you can pretty much set your watch to it.

I’ve talked about Deadpool many times before. I’m not the only one either. Deadpool is the new golden boy for Fox, Marvel, and the entire superhero genre. He was once a niche character with an especially loyal set of fans and cos-players. Then, former sexiest man alive, Ryan Reynolds, made Deadpool the hottest thing in spandex not named Jennifer Lawrence.

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The Deadpool movie wasn’t just a game-changer. It dropped a metric ton of napalm on the game, blew it up with C4, and roasted marshmallows over the entrails while strippers danced in the background. If that sounds crazy, then congratulations. You now have some insight into why Deadpool is so appealing.

The first Deadpool movie completely shocked the established superhero genre, grossing $783 million on a $58 million budget. At a time when many superhero movies need budgets of at least $250 million to be taken seriously, that’s not just impressive. That’s downright jarring.

The fact that Deadpool did this while being rated R, complete with exposed breasts and Ryan Reynold’s jerking off with a stuffed unicorn, makes it all the more astonishing. It proved that superhero movies could be mature, sexy, and appealing. It also proved they can be extremely profitable and nothing speaks louder in the entertainment industry than money. Why else would Disney have made fivePirates of the Caribbean” movies?

The impact is still being felt, but it’s already starting to show. Just this year, Fox proved that Deadpool’s success was not a fluke. The R-rated “Logan” movie made $606 million on a $97 million budget while generated critical acclaim. Once can be an anomaly. Twice is the beginning of a trend.

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In an effort to continue that trend, Fox and Marvel announced this past week that they will be making a Deadpool animated series for the FXX network. That’s the same network that hosts such kid-unfriendly shows like “Archer” and “It’s Always Sunny In Philadelphia.” There couldn’t be a more appropriate home is what I’m saying.

Now, this news might not seem like a big deal to non-comic fans. Deadpool had a successful movie, making Fox and Marvel a boatload of money. With a sequel already in the works, why not capitalize on his popularity with a cartoon? It sounds like a normal money grab by big corporate media giants who are never satisfied with merely having a few pools of money to swim in.

There’s no doubt that’s part of the dynamic here, but there are far larger implications, some of which might have an impact on erotica/romance. Bear with me, here, because this is where I try to gaze into a crystal ball and not throw up. Since I haven’t won the lottery or predicted the Super Bowl yet, assume my ability for foresight is limited.

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Earlier this year, I talked about the success of the “Fifty Shades of Grey” movie, as well as the challenges associated with creating quality erotica/romance. Some of these challenges aren’t insurmountable, but they are daunting. The success of “Game of Thrones” might be nudging public attitudes to some extent, but only to a point.

Since Hollywood is too damn impatient when it comes to exploiting a market, I speculated that animation might actually be the key to future erotica/romance. It effectively circumvents many of those daunting challenges I mentioned. Cartoon characters don’t get too testy when you ask them to take their clothes off.

With a Deadpool cartoon being on FXX, there’s a lot more potential for raunchy sexiness. We already see it in shows like “Archer,” which doesn’t shy away from the kind of crude humor that is usually reserved for “South Park.” Unlike “Archer,” though, Deadpool has more brand recognition. He generates far more attention and not just because he’s been known to cross dress every now and then.

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Deadpool will be entering a market that’s ripe for growth. Adult-themed animation has been around for years, but has never been more than a niche market. That might be changing just in time for Deadpool.

In recent years, shows like “Archer” have inspired other shows like “Rick and Morty,” gaining more than just a cult following. These shows get away with plots and humor that would never make it past the network executives who are routinely terrified of getting a call from the FCC. By being animated, they can push the proverbial envelope in ways that go far beyond an exposed nipple.

Deadpool doesn’t stop at nipples, though. He’s a character who married a succubus and flirted with Spider-Man. He does things that made the kid-friendly executives at Disney faint. With a cartoon, they can even do things that Ryan Reynolds would never agree to and he’s the guy who agreed to do “R.I.P.D.

The potential that a Deadpool cartoon has cannot be understated. He can do more than just create another hit cartoon for a network that already has a few under their belt. He can foster a new audience that’s hungry for more mature animation.

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Between the success of movies like “Fifty Shades of Grey” and TV shows like “Rick and Morty,” Deadpool is coming along at the best possible time. By creating a larger audience, it’ll let the big wigs at major media studios that audiences do want sexier content. They want media that’s fun, sexy, and not afraid of showing a few nipples every now and then.

There will always be a place for kid-friendly cartoons, but animation need not be a medium that appeals to one segment of the population. There are many more people out there who want sexier material and they don’t need to whine to their parents for money to buy it.

A Deadpool cartoon definitely has plenty of appeal, especially to those who enjoyed the sex and violence of the movie. It has everything it needs to be success. However, it’s the implications of that success that may have far sexier implications.

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Filed under Comic Books, Jack Fisher, Superheroes, Jack Fisher's Insights, Uncategorized

What “Guardians Of The Galaxy” Can Teach Us About Character Development

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What makes a character great, iconic, and memorable? Think of your favorite character from your favorite movie, novel, or TV show. Why do they stand out? What is it about them that just makes you want to hug them, love them, and reenact every scene from every porno ever made since 1982? Take all the time you need. I imagine it involves some fairly extensive thought, among other things.

Creating these kinds of characters is one of the greatest challenges that any director, producer, or aspiring erotica/romance writer can face. It doesn’t matter how great the story is, how awesome the action sequences are, or how gratuitous the nudity is. If there’s no iconic character, then the story just won’t have the kind of impact you’ll feel in your heart or your loins. Just ask Michael Bay. Better yet, ask Megan Fox.

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That’s why I’ve often seen characters as the bedrock on which any great story is built. In the same way you can’t build the Empire State Building on a mountain of soft, unstable shit, you can’t craft a great story without lovable, memorable, and iconic characters.

I’ve certainly tried to create those kinds of characters in my novels. Stories like the ones I craft in “Passion Relapse” or “Skin Deep” rely heavily on developing strong characters with strong motivations. I won’t say those stories succeeded. I’ll leave that up to the readers, but that process may very well determine how my career as an erotica/romance writer plays out.

That brings me to the “Guardians of the Galaxy” movies. I know that’s not much of a segway, but cut me some slack. When you’re trying to relate the challenges of character development with a movie that has both a talking tree and a raccoon with a machine gun, there’s only so much you can do in terms of transitions.

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For those of you who have been under a rock and/or in a coma, “Guardians of the Galaxy” is the biggest surprise hit in movies since some guy named George Lucas convinced movie producers that audiences wanted to see space battles, Wookies, and light sabres.

The first movie came out in 2014 and made $773 million worldwide. For a movie based on a team of obscure comic book characters that nobody outside the most hardcore of comic book fans knew existed. They are not the Avengers. They are not the X-men. They were the D-list of D-list characters.

The story of how they ended up being one of the biggest franchises that didn’t come from the mind of George Lucas or Stephen Spielberg is epic in and of itself. It might have simply been a matter of pragmatics, given how Marvel doesn’t own the movie rights to all its iconic characters.

Whatever the circumstances might have been, though, James Gunn and Marvel Studios managed to create another blockbuster franchise for Marvel and Disney. For a couple of companies that are never satisfied with just a few billion dollars here and there, that’s saying something.

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The success is undeniable. Just this past week, “Guardians of the Galaxy Vol. 2” came out and generated $145 million domestically on top of the $427 million it had already generated worldwide. I saw the movie the day after it came out. It’s fun, it’s heartfelt, and it’s dramatic in the best possible way. If you haven’t seen it yet, it’s well-worth your time.

In watching this movie and its predecessor, though, I saw something that was actually more remarkable than a raccoon with a machine gun, if you can believe that. I saw, in my opinion, a case study on how to develop endearing, memorable characters that will both entertain audiences and make them care less about overpaying for popcorn.

The best example, in the context of the first two movies, is Peter “Starlord” Quill, who is played by Chris Pratt. That fact alone is both remarkable and telling because before “Guardians of the Galaxy,” Pratt was best known as that chubby dork from “Parks and Recreation.” In a sense, though, the journey of the Andy Dwyer and that of Starlord tell a similar story. One just has a lot more sex appeal than the other.

When both “Guardians of the Galaxy” and “Parks and Recreation” start out, both Starlord and Dwyer aren’t presented as likable characters. One is an admitted thief and outlaw. The other is a selfish slacker. On the surface, they give no reason as to why we should hope they succeed at anything that doesn’t involve severe head trauma.

That changes quickly though, especially for Starlord. Shortly after the story begins in “Guardians of the Galaxy,” we start to see that he isn’t just some renegade outlaw looking to steal things, blow stuff up, and swim in a pool of orphan tears. He’s just trying to get by in a galaxy full of rough circumstances.

He and the rest of his crew, including the talking tree and raccoon, are all in a similar boat. They’re not out there looking for baby seals to beat with baseball bats. They’re just trying to get by, making as much money as they can with their limited skills and jaded reputations.

Sure, it leads to a clash that nearly destroys a planet, but that’s not their fault. Those are just more rough circumstances, coupled with an insane alien religious zealot with a big ass hammer. It’s every bit as ridiculous and entertaining as it sounds.

That situation, as well as their lot in life, is a big reason why Starlord and his ragtag team of outlaws gain so much appeal. It’s also a major factor in what made the story so great. These characters, especially Starlord, aren’t born as princes, prodigies, or heirs. They don’t just start at the bottom of the social ladder. They start in a deep hole right under it.

Starlord had a lot of shit luck early on. He never knew who his father was as a kid. His mom died of cancer. Then, a team of alien bounty hunters abducted him and made him their personal bitch for most of his life. He’s not just an underdog. He’s someone that even other underdogs spit on.

That makes his efforts to find a better lot in life, including those involving crime, both understandable and justified. There’s almost no other way for Starlord to pull himself up and carve out a better story for himself. He has to be an outlaw of sorts. Having Chris Pratt’s sex appeal is just a nice bonus.

However, the outlaw persona is not the core of Starlord’s character. It’s never more than a secondary trait at best. Starlord is still a hero in the sense that when the situation gets tricky, his first inclination is to do the right thing. When what he thinks is just a simple heist turns into a galaxy-threatening crisis, he doesn’t need any coaxing. He wants to do the right thing.

That doesn’t just make him heroic. That makes him endearing. That makes him someone we can root for. That makes him someone we can get behind. In terms of creating an iconic and endearing character, Starlord checks all the right boxes and so do much of his teammates, including the talking tree. Given Groot’s limited vocabulary, that’s quite an accomplishment.

Guardians of the Galaxy Vol. 2” takes that effort a step further by having Starlord meet up with his long-lost father. It both expands on the origins that began in the first movie and adds greater emotional appeal.

The first movie succeeded in making Starlord a character we can root for. That meant that even before the second movie began, we as an audience were already rooting for him. We wanted him to find his father. We wanted him to have the kind of relationship that he wanted with his father.

I won’t spoil the key details of the movie, but I’ll just say that the this sentiment is what makes the story in “Guardians of the Galaxy Vol. 2” especially devastating. However, it’s devastating in the best possible way because it reminds us how much we were rooting for this character.

We all wanted Starlord, a guy who lived most of his life in the armpits of society, to achieve that happiness he sought. When the devastating truth comes out, it hurts both him and the audience. We empathize with his plight and we share in the devastation.

This is the most potent manifestation of a character that any novel, movie, or TV show can achieve. When it gets to a point where the audience shares in the struggle and plight, it becomes more than just an entertaining story. It becomes personal.

Starlord’s journey might not have been the same as Superman, Captain America, or even Luke Skywalker, but it’s a journey we shared. It’s one that evoked all the right emotions within us. That’s why it was so effective. That’s why James Gunn, Chris Pratt, and Marvel are now swimming in a fresh pool of money.

There are many lessons that can be learned from movies like “Guardians of the Galaxy” and not just those espoused by talking trees. As an aspiring writer, I want to create characters like Starlord that readers want to root for. I want a character whose pain and pleasure will be felt by everyone who reads it.

It’s not an easy feat to accomplish. I’ve made a concerted effort in every one of my novels. I won’t say I’ve succeeded yet. I won’t say I’ve failed either. However, I do feel there’s plenty of room for improvement. I’ll just have to figure out how to do it without the aid of a talking raccoon with a machine gun.

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Filed under Comic Books, Jack Fisher, Superheroes

How To NOT Screw Up X-men: Dark Phoenix

If you’ve been following this blog in any capacity, then you know I love comic books and superheroes. I try to work them into many topics, from effective superhero tactics to sexy female heroes who are uniquely sex positive. Assume, for the future, that if there’s sexy topic that can be related to comics, then I’ll find a way to discuss it.

In addition, those who follow this blog also know that I have a special affinity for the X-men. I tend to cite them more than most, whether it’s discussing a romance among equals, the future of female villains, or candidates for UN Ambassadorship. Again, I’ll use any possible excuse in any sexy topic to cite them again. I’m both a passionate erotica/romance writer and a passionate fan. I make no apologies for that.

So when some major news regarding superhero movies, particularly X-men movies, comes up, I’m going to discuss it. I may even belabor it. I know that may not be the reason some people visit the blog of an aspiring erotica/romance writer, but superhero movies, especially those involving the X-men, are important to me.

Keep in mind, the X-men also have characters like Emma Frost so that means there’s plenty of opportunities for sex appeal. This news, in particular, has its share of sexy and romantic connotations so it is relevant for erotica/romance fans. If you need proof, I have just two words for you: Sophie Turner.

I’ll give “Game of Thrones” fans a second to stop smiling. I’ll give X-men fans another because some of them, myself included, are still buzzing at her limited, but spectacular performance in “X-men: Apocalypse.” Other than Ryan Reynolds, the man who brought Deadpool to life, Ms. Turner may very well hold the key to the future of the X-men movies.

Whereas we only got one X-men movie this year with “Logan,” 2018 will bring us two. While “Deadpool 2” is sure to generate plenty of interest and dick jokes, it’s “X-men: Dark Phoenix” that will likely determine the fate and future of the X-men movies. Other than Sophie Turner’s sex appeal, there’s a lot of uncertainty about that effort.

That’s because “X-men: Dark Phoenix” isn’t just attempting something bold. The Phoenix Saga it’s based on is, by far, the most iconic and acclaimed X-men story of all time. Talk to any X-men fan in any capacity and most of them will agree. The Phoenix Saga is the gold-encrusted adamantium standard by which all X-men stories are measured. It also happens to be the story that Fox woefully botched once before.

It’s true and it still gives X-men fans nightmares to this day. Back in 2006, Fox attempted to tell the story of the Phoenix in “X-men: The Last Stand.” The end results were so poorly received that they ended up erasing it completely from the timeline in 2014’s “X-men: Days of Future Past.” Yes, it really was that bad.

I could do multiple blog posts on why the movie was so terrible. In fact, I already did one that covered the nauseatingly awful love triangle involving Cyclops, Jean Grey, and Wolverine. However, that was just one in a long list of unforgivable crimes that “X-men: The Last Stand” committed.

Chief among those crimes, for X-men fans, was how it handled the Phoenix sub-plot. The mere fact that it was a sub-plot was a huge problem. As I said before, the Phoenix Saga is the most iconic, respected, and beloved X-men story of all time. To treat it as a goddamn sub-plot, while wasting the acting talent and sex appeal of Famke Janssen, is both tragic and infuriating.

Beyond just relegating it to a sub-plot, “X-men: The Last Stand” basically looked over all the major themes of the Phoenix Saga and basically threw them out like expired milk. The Phoenix Saga is a story built around love, humanity, untamed power, and sacrifice. “X-men: The Last Stand” had none of that. It only used the Phoenix as a way to make Wolverine get all whiny about a woman he barely knew. That’s it.

The handling of the Phoenix was so bad that longtime X-men producer, Simon Kinberg, admitted earlier this year that they screwed up. Think about that for a moment. A big-time Hollywood producer, someone with unlimited access to blowjobs and cocaine, admitted a mistake. He didn’t make an excuse, as so many people in power tend to do. He owned his mistake. For that, Mr. Kinberg earns my respect.

I also believe that Mr. Kinberg does not want to go down in history as the man who botched the most beloved X-men story of all time. That kind of reputation can permanently destroy his credibility among a vocal audience. Just ask Joel Shumacher how nasty it can get.

Moreover, Mr. Kinberg already has the resources he needs to make a Phoenix Saga work. He laid the groundwork with “X-men: Apocalypse” by having Sophie Turner shine more in one scene than Famke Jannsen ever could through three movies. He also has an immensely-talented actress in Ms. Turner to bring out the passion and drama that is so vital to the Phoenix Saga.

In other words, Mr. Kinberg and the powers that be at Fox have no excuses this time. They didn’t have any last time with “X-men: The Last Stand,” but the stakes were lower then. The market for superhero movies is going to be very crowded in 2018. Having already screwed up the Fantastic Four, they need to show they can learn from their mistakes.

Being the passionate comic book fan and X-men fan that I am, I want to help in whatever way I can. Given that I’m an aspiring erotica/romance writer with precisely zero influence on anything outside this blog, that’s not saying much. I don’t expect anyone from Fox to ever read this blog or know about me. The most I can do is just put the information out there so I can say I did what I could.

With that in mind, I’m not going to offer a wish list on what must occur in a “X-men: Dark Phoenix “movie. If you base the value of a movie or comic book on something specific, you’re just setting yourself up for disappointment.

Instead, it’s better to lay out what to avoid, thereby allowing some creative flexibility along the way. No matter how passionate a fan you are, it’s important to be somewhat flexible. Otherwise, you’ll just find yourself among fans whining about how Finn Jones is too white play Iron Fist.

So for X-men fans, comic fans, and superhero fans in general, here’s my list of tips on how to avoid botching the Phoenix Saga again. I write this hoping that the people at Fox understand that X-men fans are a forgiving bunch, but messing up the most iconic story in X-men history twice would be pushing it.


Tip #1: Embrace AND Unleash The Passion

This should be the most obvious, but it somehow slipped everyone’s mind in “X-men: The Last Stand” so it’s worth putting at the top of the list and belaboring to no end. At the core of the Phoenix Saga, which is also its greatest appeal, is the passion behind the story.

It is, in essence, a story about overwhelming power guided by overwhelming passions. Within the story, Jean Grey is possessed by a cosmic entity known as the Phoenix Force, which pushes her psychic powers to the limit, beyond, and into the depths of space. That’s not an exaggeration either. She actually goes into space with this power.

Now doing that in a movie would be tricky, but Jean doesn’t have to go into space to realize the theme here. She just has to get a chance to emote and lament about the sheer breadth of this power. Her passions are what drive it. They create the huge, emotional spectacle that helped make the Phoenix Saga so iconic.

Famke Jannsen never got a chance to do much in “X-men: The Last Stand.” In fact, all she really did was stand around, look deadpanned, and that’s about it. She never even flashed any Phoenix-like symbolism, which is pretty pathetic since Fox managed to squeeze it in with “X-men: Apocalypse.” A Phoenix Saga with flat emotions is like sandwich without bread. You just can’t have one without the other.


Tip #2: Make Any Sacrifice Feel Genuine

This is somewhat unique to the Phoenix Saga mythos in general. In addition to overwhelming passion and immense power, sacrifice is at the core of what makes a the Phoenix Saga so iconic among X-men fans. In the end, Jean Grey makes a heroic sacrifice for her friends, the world, and the man she loves. It’s one of the most emotional, dramatic moments in the history of comics.

Again, “X-men: The Last Stand” found a way to completely screw this up. In fact, saying they screwed up would be too polite because they didn’t just undermine this critical moment in X-men lore. They did the exact opposite.

Jean Grey does not make any sacrifice in “X-men: The Last Stand.” What she does is basically an act of pure cowardice. She doesn’t heroically sacrifice herself to save the ones she loves. She makes someone else kill her, specifically Wolverine. She doesn’t beg him. She makes him. There’s nothing heroic about that. Hell, that’s a dick move, even by Wolverine standards.

For any Phoenix Saga to work, there needs to be some sort of sacrifice along the way. That sacrifice also has to be genuine, dramatic, and heartfelt. That’s what makes it so endearing. Nobody ever felt any kind of endearment to a coward. Since the X-men are superheroes and all, there’s no room for that kind of cowardice.


Tip #3: Embrace And Expand The Cyclops/Jean Romance

I’ve talked about this romance on multiple occasions and for good reason. It is, by far, the most important, iconic romance in the history of X-men. The romance of Cyclops and Jean Grey goes all the way back to the earliest days of the X-men, as created by Stan Lee and Jack Kirby. It’s a romance that has resulted marriage, death, resurrection, and multiple children. You won’t find many romances with this kind of depth.

Unfortunately, nobody who saw the original X-men movies ever would’ve suspected as such. Those movies gave the impression that the romance only existed to cock-block Wolverine and Jean Grey only existed to be a piece of ass for him to achieve. The love triangle is toxic enough in the comics, but the movies took it to a level so egregious that both the X-men fan and erotica/romance fan in me wants to vomit violently.

There’s no real depth between Wolverine and Jean Grey, especially in the movies. There is, however, a powerful and important dynamic between Cyclops and Jean Grey. Theirs is a uniquely balanced romance, one where they both stand together in ways that isn’t typical of superhero movies or romance movies in general. They’re both heroes. They share in one another’s struggles and burdens.

Most importantly, though, they complement each other. They inspire one another to be better. That’s what we saw, at least in a limited capacity, in “X-men: Apocalypse.” That movie didn’t just thrust them together and proclaim that they’re star-crossed lovers. They actually laid a foundation for a deeper connection. By the end of that movie, it was easy to see a romance between them blossoming.

In the comics, the Cyclops/Jean romance was central to the Phoenix Saga. Their romance was a catalyst for so much of the drama that to remove it is to remove a critical element of what makes the story work.

X-men: The Last Stand” tried to work around it by thrusting Wolverine into the role of Jean’s love interest. That failed miserably though because again, there was never a single goddamn reason for anyone to believe that there was any meaningful chemistry with them.

It was the history and extent of Cyclops and Jean Grey’s romance that made the Phoenix Saga so meaningful in the comics. At one point in the story, they even talked about getting married. A deep, passionate romance is what helped make the Phoenix Saga so impactful on so many levels.

That kind of romance can’t be forced. “X-men: The Last Stand” tried and failed miserably. A Dark Phoenix movie cannot make that same mistake again. The foundation is already there thanks to “X-men: Apocalypse.” The Dark Phoenix movie just has to crank up the passion. Sophie Turner’s sex appeal will do the rest.


Tip #4: Make The Phoenix The Primary Plot

After what I said earlier about how “X-men: The Last Stand” treated the Phoenix Saga, this should be a no-brainer. Then again, the sheer stupidity of circumventing the Cyclops/Jean Grey relationship in the first three movies should’ve been a no-brainer too so I’m not going to assume too much here.

The Phoenix Saga is too dramatic, too iconic, and too emotional a story to relegate to a sub-plot. “X-men: The Last Stand” tried and failed so miserably that no one could really blame Jean Grey for wanting to die in the end. Fox and Mr. Kinberg cannot let that happen again. The X-men, Jean Grey, and the Phoenix Saga deserve better.

From the moment the opening credits begin to the moment the generic 90s grunge music plays at the end, Jean Grey and the Phoenix Force should be the central focus. There can certainly be plenty of sub-plots, as there always are in every superhero movie. However, the Phoenix Saga must take priority. If it doesn’t tie into that story in a meaningful way, then it should be tabled for another movie.

The Phoenix Saga is a big enough story to carry the whole movie. In the comics, it unfolded over the course of several years, diverting into plenty of sub-plots along the way. A movie doesn’t have that kind of flexibility, but it still has plenty of time to set up and execute the drama that makes the Phoenix Saga so endearing.

Movies are plenty capable of creating that level of drama. Movies like “Titanic” and “Terminator 2” are able to do it all within a cohesive narrative. More than anything else, the Phoenix Saga should feel complete by the end of the movie. Other sub-plots can linger for sequels, but the Phoenix Saga must get first dibs.


Tip #5: Introduce New Villains And Tie Them Into The Phoenix Story

This might actually be the easiest part of making X-men: Dark Phoenix awesome. Chances are that’s already part of the plan and not just because there’s no hint that Michael Fassbender wants to return to play Magneto again. Now I love Fassbender as much as the next straight X-men fan, but his role as Magneto has been done to death, going all the way back to the first X-men movie.

The X-men have a long and rich library of villains. Very few of those villains have had a chance to grow within the movies. Some, like Mojo, are woefully impractical. Others, such as a devious figure named Mr. Sinister, are ripe for development. Even Walter White himself, Bryan Cranston, has expressed an interest in playing Sinister. That alone should tell you everything you need to know about his potential.

On top of that, Mr. Sinister has close ties to Cyclops and Jean Grey. It really wouldn’t take much to involve him in the Phoenix Saga. While he did not participate in it directly in the comics, he did go onto influence a great deal of stories that expanded the Phoenix mythos in X-men. Putting him in the center of the conflict in a Dark Phoenix movie makes too much sense.

There are other lesser villains like the U-men and the Purifiers that could find their way into the mix. So there should be no concerns about not having enough villains. The key is tying these villains into the main Dark Phoenix story. If done well, especially with the aid of Bryan Cranston’s acting prowess, then the movie has everything it needs to succeed.


There’s a lot more to consider in making an X-men: Dark Phoenix movie. I’m just a passionate fan so I’m hardly qualified to evaluate every one of them. If I were, Fox probably would’ve hired me and underpaid me by now to make this movie work. Since they haven’t, I can only hope there are much smarter, much more passionate people working tirelessly to make this movie great.

As a fan, I want to see this movie succeed. I want to see Fox and Mr. Kinberg make up for their mistakes in “X-men: The Last Stand.” It would be both an accomplishment and a service for which fans would be forever grateful. Grateful fans are more willing to give money to those who please them. That is, after all, Fox’s ultimate goal.

The incentives are in place. The story is there. The iconic characters are there. The passion is there. The love, heart, and emotions are there. It’s only a matter of bringing them together into a single, cohesive story that will thrill audiences, evoke tears of joy, and soak panties.

It can be done. I pray to whatever cosmic forces are out there that Fox can pull this off. As an X-men fan, a comic book fan, and a fan of iconic love stories, X-men: Dark Phoenix deserves to be that awesome.

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When Love (And Lust) Is Genuine

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Does she love me?

Does she love you?

Is our love real?

Is the sex good?

Is the sex really that good?

Is this love the real deal?

These are all questions I’m sure everyone has asked themselves at some point. If not, then chances are you’ll ask yourselves these questions at some point in the future. Sometimes you may not even ask them with a completely sober mind and I’m not just talking about shots of tequila.

Love, lust, and everything in between is a beautiful thing. It’s one of the most powerful experiences we can have as human beings. In fact, according to research from MIT, being in love can produce a high similar to that of cocaine. In another life, maybe Pablo Escobar could’ve been the ultimate love guru. I guess we’ll never know.

I know I say it a lot, but it’s worth saying again, especially for a topic like this. We are a very social species. The human race thrived, despite bodies that were easily crushed by hungry bears, because we could collaborate and cooperate. We worked together, shared resources, and made beautiful love that resulted in more humans. Now, we’re the most dominant species on the planet. Bears just cannot make that claim.

As beautiful as it is, sometimes the answers to those questions are tragic, if not downright heartbreaking. It does happen. Sometimes the love two people have isn’t real. Sometimes the lust they feel is fake. Sometimes the sex is only a minor step above having someone watch while you masturbate. The challenge is finding out how to answer these questions.

I bring up this topic because I recently got into an interesting discussion with some people on a comic book message board. Now in general, I try to avoid most of the discussions on message boards. I’ve found that over 95 percent of them involve fans whining about the current situation in their favorite comics and how they hate it so much, but not enough to stop talking about it.

Every now and then, though, there will be a more meaningful conversation. I really enjoy being part of that conversation because it brings out some interesting perspectives. A lot of those perspectives can apply to real life, even in comics that involve clones, time travel, and poop jokes. Yes, I’m referring about Deadpool.

Specifically, the conversation I had involved a discussion about how genuine the love and romantic chemistry is between two particular characters. In this case, one of those characters was Spider-Man, whose romantic history is almost as vast as Wolverine’s. While I do criticize Spider-Man for being an incompetent hero, the man is still pretty good when it comes to getting laid. For that, I do respect him.

However, like a lot of comic book characters and real people, his love life is subject to a lot of variations. There are times when his emotions are not entirely sincere. By that, I mean he’s with someone because they’re there. That’s it. Then, there are times when he really does love someone, enough to marry them and make a deal with a devil with them. Like I said, there’s a lot of range with Spider-Man.

Sometimes it’s hard to make sense of these situations. Within the discussion I had, there were all sorts of conflicting opinions about just how sincere Spider-Man was and how much potential the relationship actually had. For every one person in the discussion, there were at least five different opinions, including my own.

Comic book fans are notoriously stubborn for how their characters are portrayed, but when it comes to our love lives, the stakes are a bit higher. In the discussion, I noticed a few common themes that set genuine love apart from the kind of love that end with Spider-Man getting his ass kicked by the Green Goblin.

One of those elements is luck. I know that doesn’t sound very romantic, but it’s an unavoidable function of life. Sometimes you’re in the right situation at the right time to take advantage of something, be it love or a winning lotto ticket. You can’t always control it, but it happens.

With respect to genuine love, though, luck plays a very specific role. If a relationship relies on luck to work, then that relationship is basically a reverse lottery. Over time, the odds just aren’t in anyone’s favor. The Law of Averages is both a harsh mistress and an outright sadomasochist. Spider-Man finds that out on a regular basis with how badly his relationships turn out, often due to forces he can’t control.

In addition to luck, there’s also the chemistry aspect. This is much sexier and much more romantic than luck. There’s no question about that. It’s also one of the hardest component to really nail down.

We all understand what romantic and sexual chemistry is to some extent. If two people are drawn together and struggle to keep their clothes on around each other, that’s a sign of pretty potent chemistry. Like real chemistry, though, some mixtures are more potent than others. Some are downright volatile.

If the chemistry is restricted to lust, then that’ll make for some hot sex. However, it won’t make for much else. Now I’ve got nothing against hot sex. It’s a wonderful part of being human. It can just be shallow and crude though. It can be a key ingredient for sexual chemistry, but it can’t be the only ingredient.

Add love to the mix and that’s where the potency shows. Genuine love complements one another. Genuine love involves two people cooperating, sacrificing, and sharing on a level that you just don’t do with a total stranger. Genuine love is usually equal for the most part. It’s rarer than hot sex, but beautiful. It even shows up in an X-men comic every now and then.

Lastly, one key element in genuine love involves reasons and excuses. I know this isn’t very sexy either, but it’s a necessary practical element of love. It can be either the glue or the napalm that binds/destroys a relationship.

Specifically, it deals with the how and why two people are involved in the first place. If they’re in an arranged marriage, which still happens a lot these days, then that’s a fairly unambiguous reason. If they’re together because they just don’t want to be alone, then that’s not much of a reason. That’s more of an excuse.

Sometimes Spider-Man is just with someone because they’re part of his life. They happen to cross paths with him both in and out of the mask. That’s often the case with characters like the Black Cat, whose about as genuine as a very hungry, very horny wolf. It rarely makes for a very genuine connection.

Sometimes two people start out as friends and the connection deepens. This often happens in a lot of teen movies and sitcoms, but it happens in real life too so it’s not entirely flawed like most movie tropes. That can sometimes be a solid foundation for genuine love.

There are also cases where two people are together purely for pragmatic reasons. A beautiful woman is with a man because he’s rich. A man is with a beautiful woman because she’s sexy. Sometimes people are just friends with benefits. That does happen and can work, despite what an Ashton Kutcher movie may claim.

That doesn’t mean pragmatism is necessarily genuine though. If two people are together because not being together would be too much work or too inconvenient, that’s not genuine. That’s just plain lazy. If two people are together because one has a great deal of leverage over the other, then that’s not genuine either. That’s exploitation.

Overall, there are a lot of components that go into a genuine romance and, without spoiling too much of the discussion I had, Spider-Man sucks at it. Characters like Superman, Wonder Woman, and even Starfire, to some extent, have a much better track record.

In the real world and throughout history, you’ll find plenty of examples of genuine love. They don’t always make for great stories or good erotica/romance, but that doesn’t make them any less genuine. In the end, genuine love combined with genuine lust makes for the best and sexiest connections. Not everyone can find it, but that’s what makes it so precious.

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How NOT To Market Comic Books: A Marvelous Cautionary Tale

Let’s face it. We all make mistakes. We all do dumb things. We’re all just one “reply all” button away from humiliating ourselves and undermine our entire professional career. One time, I accidentally washed my hair with shaving cream instead of shampoo. It made me feel pretty stupid, but at least it happened in the shower and in private.

It’s only when we make mistakes that become public shit storms that we really agonize over our mistakes. For most people, that’s difficult enough, but usually manageable, provided you avoid the “reply all” button and don’t watch porn at the office.

For celebrities, it’s like walking on egg shells on top of land mines on top of hungry lions. If Taylor Swift accidentally washed her hair with shaving cream and did it on camera, it would blow up Twitter and turn into a week-long national scandal. We envy a lot of things about celebrities, but nobody should envy that circus act.

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Then, there are the non-celebrities who still find a way to make their minor mistake into a national shit storm. Taylor Swift doing something that blows up the internet is kind of an inevitability. A non-celebrity creating that kind of shit storm is an accomplishment.

A man named David Gabriel found that out the hard way last week. Who is David Gabriel, you ask? He’s not a celebrity. He’s not a pop star. He’s not even a famous internet meme. He’s the Vice President of sales at Marvel Comics, a company that’s very important to me as an admitted comic book fan.

It’s a job that’s probably much less glamorous than it sounds. He’s tasked with selling products that include iconic heroes, women dressed in skin-tight costumes, and talking raccoons. His products couldn’t sell themselves better without being laced with nicotine.

 

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Despite this advantage, Mr. Gabriel’s job has been a lot tougher recently. Overall, Marvel’s sales and overall share of the comic book market has been declining for the past couple of years. That’s somewhat odd, given how Marvel’s movies have made more money than the gross national product of some countries.

Now the reasons for this decline are too numerous and too unsexy for me to cover in a single blog post or multiple blog posts, for that matter. The real story here comes back to David Gabriel, a man whose job it is to figure out why the company he works for isn’t swimming in a fresh pile of money every year.

What’s his explanation for the sales decline? Well, if you thought you’ve ever screwed up badly at your job, take a deep breath and put your feet up. You’re about to feel a lot better about yourself because this is what Mr. Gabriel said in an interview ICv2:

Now the million-dollar question.  Why did those tastes change?

I don’t know if that’s a question for me.  I think that’s a better question for retailers who are seeing all publishers.  What we heard was that people didn’t want any more diversity.  They didn’t want female characters out there.  That’s what we heard, whether we believe that or not.  I don’t know that that’s really true, but that’s what we saw in sales.

We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character, people were turning their nose up against.  That was difficult for us because we had a lot of fresh, new, exciting ideas that we were trying to get out and nothing new really worked.

The bold parts are my doing because it’s the bold parts that got made David Gabriel the most hated, non-politician man on the internet for a week. Comic book fans, movie fans, and fans of people who publicly screw themselves all took the time to jump in and pile on a man who probably didn’t fully realize what he was saying.

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On the surface, the words themselves don’t mean much. Marvel made a push for greater diversity in its comics. I even covered some of the issues that came up during this push. That push didn’t work as well as they’d hoped. Compared to the efforts of DC Comics with their “Rebirth” initiative, there was a lot of room for improvement.

This is where Mr. Gabriel’s internal filter failed him. He looked at the situation, tried to make sense of it, and came up with something that indirectly insulted comic book fans and non-comic book fans alike. I get what he was trying to say, pointing out that the response to their diversity push wasn’t what Marvel had hoped. He just ended up saying way more, if not way too much.

Indirect or not, we’re living in an age where anything you say can and will be misconstrued as bigoted, sexist, racist, homophobic, or anything else associated with the republican party. With Mr. Gabriel’s comments, it didn’t take much for anyone with a Twitter feed to twist his words appropriately.

The implications are as apparent as they are misguided. Comic book fans don’t want diversity. They just want to read comics about the same old white guys who save beautiful women in bikinis that they’ve been reading since the Kennedy Administration. If a character is black, female, or does any that straight white men don’t approve of, then they’re not interested.

Again, that’s the implication. That’s not the actual substance of Mr. Gabriel’s words, but that doesn’t matter anymore. It doesn’t even matter if he meant something else entirely. The angry, politically correct whims of the internet and social media has spoken. David Gabriel and comic book fans are in league with the white male fascist order that’s intent on making the world one big sitcom from the 1950s.

That last part was sarcasm, by the way. I know it doesn’t take much to kick up a shit storm of outrage these days, but I feel like I have to cover my ass with an adamantium plate. There are too many people in the world who just can’t resist a good dose of whining.

Naturally, Mr. Gabriel’s remarks triggered a week-long sideshow where everyone weighed in to voice their outrage, even if they weren’t comic book fans. Most of the outrage was pretty standard. It can usually be boiled down to the following remarks:

“HOW DARE YOU ACCUSE OF US BIGOTRY!”

“HOW DARE YOU TRY TO SPEAK FOR ALL COMIC BOOK FANS!”

“HOW DARE YOU IMPLY THAT DIVERSITY IS A BAD THING!”

“HA! YOU ADMIT YOU’RE A RACIST, BIGOTED, HOMOPHOBE!”

No less than 95 percent of all reactions can be boiled down to something of that nature. One side claims the other is being a bigot/racist/insert-minority-hating-term-here. The other side claims Mr. Gabriel is wrong, stupid, and doesn’t speak for the majority of comic book fans. Somewhere in between the shit storm are just people who want to read awesome comics. They’re basically stuck smelling this stench.

I can already spoil how this is going to play out. The outrage will continue to be a controversy for a while. Then, something else will come along that’ll start another outrage-fueled shit-storm about racism, sexism, homophobia, etc. After that, David Gabriel will go back to being a nobody who wouldn’t be recognized if he had a two-foot cock plated in gold. I’m sure that day can’t come fast enough for him.

It’s not just human nature. It’s part of the system/flaws in marketing. People have very short attention spans. Unless it affects their livelihood, they get bored pretty easily. People are also very selective with their outrage. It doesn’t matter how asinine or misguided it is, even if it’s something as simple as a Halloween costume. Outrage is inherently irrational.

It’s an important, albeit bittersweet lesson for anyone looking to market anything in a day where we’re all just one offensive hashtag away from a really bad week. Since I’m trying to sell my own books and preparing to launch my first published book, it’s a lesson worth learning.

We don’t live in an age where a bad add or an off-hand remark can be swept under the rug or forgotten. We live in an age where everybody has a camera and a recorder in their pocket. We live in an age where anything you say or do can be misconstrued in any number of wholly ridiculous ways.

Whether you’re a straight white man working for Marvel or a black transgender lesbian working for BET, your words and actions can and well be skewed if you’re not careful. Professional trolls like Ann Coulter, Lena Dunham, Michael Moore, and Milo Yiannopoulos can get away with it. Most people trying to make a decent, honorable living can’t.

Now I believe that David Gabriel is as decent a person as the rest of us. I don’t think he believes that diversity is a bad thing in comic books or anything else in life. He just made the mistake of saying a certain sequence of words that evoked a knee-jerk reaction from a public that’s more and more sensitive to anything remotely bigoted, regardless of how valid that sentiment might be.

These are strange and volatile times. Today, the worst thing you can be is opposed to diversity. Marvel Comics is behind the curve, unfortunately, because so many of their iconic characters were created at a time when the market almost exclusively favored straight white men. They can’t undo that or the legacy that helped build their company, even if a new generation of politically correct hippies despise that.

If I could say one thing to David Gabriel, I would say, “Take a step back, open a cold beer, and just wait for everybody to get bored being upset with you.” Hell, I’d even buy him the beer.

Even as we forget about David Gabriel and what he said when he underestimated the internet’s capacity for outrage, there will be others like him who fall flat on their face in their effort to sell their products to a public that’ll jump at any reason to get outraged. It’s a challenge, and an annoying one at that, but it’s challenges that make us stronger.

That’s why I still have high hopes for the future of Marvel comics. It’s also why I have hopes for the future of my novels. I doubt I’ll sell anything as well as Marvel sells its comics, but if I can do that without generating misguided outrage, I’ll know I’ve done it right.

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How To Be An Effective Superhero

This is a direct follow-up to my previous post about why modern superheroes are inherently incompetent and designed to stay that way. I felt I needed to scrutinize the cracks in the foundation, so to speak, before I get around to discussing the stuff build on top of it. That will help make the discussion in this post more relevant and concise.

Even without the context of my previous post, it’s not hard to understand or even acknowledge that so many superheroes are inept, irresponsible, and incompetent at their jobs. Their villains always escape. Their friends/lovers/parents always die/suffer. The world they want to better never changes. It’s a flaw in the system as much as it is an exercise in futility.

Now, I’d like to take a step back, acknowledge the forest from the trees, and offer a solution of sorts. As I’ve done with other issues, I don’t just like to point out flaws. I like to offer viable solutions. Those solutions may not be practical or possible at the moment, but I try to make sure that the concept is sound.

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I’d like to apply that method to superheroes now. By that, I mean I’d like to create a guide of sorts that helps establish the tactics, strategies, and ethics of being a competent, effective superhero. I say this knowing that it could never work in any comic book or major movie. This is mostly just an exercise in the actual pragmatics of superheroes.

First off, let’s establish some guidelines for a prototypical hero that would utilize these tactics. In order for them to work, they have to meet a certain criteria. Here’s a quick list of what that may include:

  • The goal of the hero is to reduce crime, confront injustice, and undermine corruption

  • The hero has a concerted interest in protecting as many innocent people as possible

  • The strategy in question cannot rely on the use of certain superpowers, although the use of superpowers can help supplement the strategy

  • The strategy is equally usable by male, female, and alien characters

  • The hero in question is willing to operate in a manner outside the framework of traditional law enforcement

  • The hero in question is willing to cross a certain set of moral lines, but only to an extent

I’m sure there are other ways to refine and supplement this list, but for now, this is what I’ll use in devising my strategy. In order to ensure that its applicable, heroes like Batman, Spider-Man, and Daredevil must be equally capable of implementing it.

Keep in mind, though, that some heroes have goals that go beyond just administering justice. Characters like Superman and the X-men have other goals, some of which goes beyond justice. I’ll save those goals for another post. For now, I intend to focus on the traditional superhero goal of justice and countering evil.

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In order to formulate this strategy, it’s also important to acknowledge a few unpleasant truths that would make Superman and Captain America cry. By that, I mean that the strategy cannot, for practical means, rely heavily on ideals. This is supposed to apply to the real world and, unfortunately, the real world is extremely unforgiving when it comes to ideals. Just ask Bernie Sanders.

So if we’re going to create a strategy that operates in the real world, we must make sure it accounts for the eccentricities of human psychology. It must utilize caveman logic and pass the Simpson filter. It can’t be too concerned with the nuts and bolts of people and why they do the crazy things they do. It must focus exclusively on results.

Does your brain hurt yet? Are you wondering if I’m asking you to contemplate dry water, a one-handed clap, or a decent Fantastic Four movie? Bear with me because there is a strategy that checks all these boxes. It’s a strategy I came up with thanks to two books, “Freakanomics” and “How To Fail At Everything And Still Win Big.”

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I’ve read both these books over the past few years and I’m a big fan of their style. They dig deep into the hidden intricacies of how the world works and challenges readers to think about how doing things in new and novel ways. Seeing as how I have the kind of imagination that links robots with a dominatrix, they fit my unique mentality perfectly.

For the purposes of this discussion, I want to cite an article that the authors of “Freakanamics” wrote a number of years ago on terrorism. Basically, with a gross negligence to the high emotions that come with terrorism, the authors used their understanding of economics and human behavior to come up with the most cost-effective way to conduct terrorism. What they came up with was pretty damn terrifying.

My general view of the world is that simpler is better. My guess is that this thinking applies to terrorism as well. In that spirit, the best terrorist plan I have heard is one that my father thought up after the D.C. snipers created havoc in 2002. The basic idea is to arm 20 terrorists with rifles and cars, and arrange to have them begin shooting randomly at pre-set times all across the country. Big cities, little cities, suburbs, etc. Have them move around a lot. No one will know when and where the next attack will be. The chaos would be unbelievable, especially considering how few resources it would require of the terrorists. It would also be extremely hard to catch these guys. The damage wouldn’t be as extreme as detonating a nuclear bomb in New York City, of course; but it sure would be a lot easier to obtain a handful of guns than a nuclear weapon.

Think about that for a moment. If terrorists used a tactic like this, how much fear and dread would it inflict on our daily lives? If those terrorists were even marginally competent, then it would be even scarier. No matter what we did, we would dread that we would be a victim and it wouldn’t be entirely misguided.

This is where “How To Fail At Everything And Still Win Big” comes in. That book talks heavily about how stress and uncertainty affect people. It also teaches on how you can use that to your advantage. It makes painfully clear that the human brain is an irrational device with faulty wiring that hasn’t been updated in 200,000 years. If you’re going to influence it, then you might as well exploit those quirks.

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With these two principles in mind, we can formulate a strategy for our prospective superhero. If utilized, then the criminals, villains, and future threats they face will either be defeated, deterred, or nullified.


  • The hero operates in complete secrecy, working at night or under a different identity. If the hero uses a uniform, then that uniform must not be identifiable or have some sort of stealth feature

This first part of the strategy is simple and not entirely new. Characters like Batman and the Teenage Mutant Ninja Turtles utilize some form of stealth. They operate in the shadows and generally avoid being seen.

Some heroes are even more well-equipped than others. Characters like Solid Snake from the “Metal Gear Solid” video games utilize a stealth suit that utilizes camouflage. Characters like Mystique can shape-shift into looking like someone else. This makes it easier for them to utilize this tactic, but someone as resourceful as Batman could use it just as well.

However, there’s room for improvement.


  • The hero must not have an identifiable name or make themselves known to the media in any way or coordinate with the media. They must, at all costs, avoid creating an identifiable persona

This is where Batman, Spider-Man, and pretty much any hero with a publicly-known name fails. The issue isn’t the name itself. The issue is that by having a name and having some kind of media exposure, they create a tangible, identifiable target.

From a practical perspective, that’s a big problem. That means enemies, be they a mugger or Lex Luthor, have someone they can target and identify. Entire teams of enemies, like the Legion of Doom or the Sinister Six, can rally around a common enemy. That makes enemies stronger and no strategy can succeed with that.


  • The hero must conduct detailed surveillance on villains and criminals, know their crimes and how they connect with others, and focus on those who are high in rank and influence

This is another tactic that most heroes already use to some extent. Batman is probably the most well-known. He uses his detective skills to determine who is a threat, how big a threat they are, and how to go after them. Other heroes, like the Avengers or the Justice League, generally have some type of monitoring system to determine pending threats.

This strategy requires the kind of extensive intelligence and understanding that someone like Batman could appreciate. When Batman determines that someone is a big threat, he’s almost always right. Any hero using this strategy must have similar certainty. Knowing the threat is the first step towards actually defeating it. That’s just a basic rule of war.


  • The hero must defeat their villains/enemies/criminals by making them disappear without a trace, either by killing them and destroying the body or by sending them into a domain from which they can never escape

This is where the strategy conflicts with nearly every major hero, especially the Batmans and Supermans of the comic book world. For the most part, the heroes avoid killing. It’s seen as an ideal. Taking a life is seen as morally abhorrent and for good reason.

However, that moral absolution ends when those same villains, such as the Jokers and Green Goblins of the world, live on to torment again. Despite defeating these villains multiple times, the heroes never do anything to end them. They try and try to lock them away in a prison cell, but they just keep escaping. From a moral standpoint, the suffering those villains inflict is on the heroes’ shoulders.

For most heroes, this means killing is unavoidable. It’s the only sure-fire way to ensure that a villain is never a threat again. For more resourceful/powerful heroes, there are other options like shrinking them to the size of atoms like Ant Man or sending them into the far-distant future, as Superman did with Doomsday.

However, it’s not enough to just kill a villain or enemy in this instance. Superheroes have killed before. Some, like the Punisher, kill a lot, but it still backfires in the long run. Why is that? Well, that’s where the next part strategy comes in.


  • The hero must make sure that nobody knows the villains they kill or disappear are dead, must never take credit for their disappearance, and must do everything possible to disconnect themselves from the villain

This is where even the brutal tactics of the Punisher fail. It’s also where the Freakanomic strategy comes in. The problem with the Punisher’s harsh methods isn’t that they’re harsh or that they result in a lot of killing. The problem is that they give the villains another rallying cry.

The Punisher’s enemies knows he kills. The Punisher usually likes to make clear that he’s the one who killed their associates. While this may shock and horrify some of them, it also has the effect of rallying them against a common enemy. Whether someone is a criminal or a hero, giving your enemies a common threat to rally behind is always a bad idea.

This is why the Punisher’s methods often fail in the long run. Criminals may fear him, but they know he’s responsible. The threat they’re up against has a face. There is a target for them to direct their fear and anger. This means that the criminals and enemies of the hero know who to fight against and in the long run, that never works out for the hero.


  • The hero must make sure that the villains, their allies, and their enemies don’t know why others are disappearing and must never make themselves known. Most importantly, they must make sure the villains are free to make wrong, misguided decisions

Here is where the methods of Scott Adams intersect with “Freakanomics.” In “How To Fail At Everything And Still Win Big,” Adams constantly talks about how people are at the mercy of their caveman brains. When they’re uncertain or anxious about something, they’re prone to making bad decisions for bad reasons. Make too many of those decisions and you tend to doom yourself to failure.

With this method, the hero must make sure that the villain is free and able to keep making those decisions that will ensure they defeat themselves. This is why it’s so important to make sure that the villain never knows that the hero is even fighting against them. They can’t have a mask, a costume, or a symbol to rally against. If it’s one big unknown, then their irrational caveman brains will do the rest.

The Norman Osborns and Lex Luthors of the world will start making up their own targets, irrationally lashing out at what they think is the source of the threat. The hero, for the most part, just needs to sit back and watch it unfold. Let them attack their rivals, make new enemies, and falter under the pressure. So long as they don’t know who or what they’re fighting against, their paranoia will eventually work against them.

In the long run, the villains will lose. They’ll end up dead. They’ll get caught. Most importantly, from the hero’s perspective, they’ll never know who to blame or why. That’s a scary thought, even for a hardened criminal. Nothing scares people more than the unknown.


  • The hero must never seek any kind of recognition, adulation, or compensation for their deeds

This is the final part of the strategy and, arguably, the most important. The problem with characters like Batman and Superman are that they want to be symbols. They want to be recognized for their efforts. Practically speaking, that’s a mistake.

By being symbols, they give their enemies a clear target and something to rally around. No matter how good the hero is at their job, they still make themselves a target. No matter how many villains they defeat, more will emerge and more will know who to fight.

Remove that symbolism. Remove the recognition. Remove the masks, costumes, and iconography of a hero and suddenly, the world of villains is very scary. They don’t know who to fight. They just know that by doing what they do, they could disappear without a trace and never be heard from again.

That’s more terrifying than any torture or punishment because their caveman brains will fill in the blanks with the worst they can conjure.


This caps off my official perfect superhero strategy. To date, no hero in a comic book uses these tactics and for good reason. If it were a comic book, it wouldn’t be very interesting because the outcome would be too final. The hero would be too competent and that’s just not very interesting.

Remove the need for sales, lunch boxes, and porn parodies and imagine how this strategy could work. Say there’s a superhero that wants to take down organized crime. Say that hero has the power of Superman or the Flash. Using their abilities, they quickly locate the top level bosses and associates of these criminals and just make them disappear.

There’s no body. There’s no trace. There’s no police report. There’s no trial. They just disappear. Not knowing who to fight, the criminals start attacking others they think are responsible. When they don’t know who, they just pick random people they think are enemies.

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This makes them more enemies, both from other criminals and law enforcement. No matter what they do, anyone who becomes a boss just disappears and they don’t know why. As a result, nobody even wants to be a crime boss anymore. The organizations just collapse on their own. Criminals still disappear, ensuring even low-level criminals have an incentive to stop. In the long run, the hero accomplishes what they set out to do.

It works with criminals. It works with those who are corrupt. It exploits the quirks of human nature, but also relies on the traits that make us function as a species. Again, it’s a tactic that I doubt any major heroes with movie rights could ever use. However, if they really do care about results, then this is the best way to go. Spider-Man should take notes.

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Why Spider-Man May Be The Most Incompetent Hero Of All Time

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Whenever I talk about comic books and superheroes on this blog, I generally try not to single one particular character out unless I’m trying to make a point. I find that singling out one too many characters is like pointing out all the plot holes in a Michael Bay movie. It just becomes too frustrating and futile in the long run.

That means if I’m going to dedicate a post to a character, it better be for a damn good reason. They must be a uniquely compelling sex-positive female character or a potential prelude for future female villains. Well, after talking about why most superheroes are incompetent by design, I feel compelled to single out one particular character who is, within this context, the worst offender.

That character isn’t some obscure, little-known sidekick from a bygone era either. In this case, the worst case of inept superheroes who take their incompetence to the next level is one of the most recognizable superheroes of the past 50 years. He’s had multiple movies, multiple cartoons, and multiple actors play him with varying degrees of success and/or failure.

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Yes, I’m talking about Spider-Man, also known as Peter Parker. He is, by far, the most recognizable and iconic of Stan Lee’s many creations. He’s also, by a ridiculous margin, the most profitable superhero in terms of merchandise sales. He makes enough money for Marvel every year for them to eat caviar every day off diamond-encrusted gold plates.

So why, then, is he so incompetent as a hero? Why is Marvel’s most iconic character a case study in how not to operate as a superhero? Well, some of it has to do with the built-in incompetence I mentioned before. Spider-Man can’t be too competent, otherwise his overall narrative just wouldn’t be as compelling and his toys wouldn’t sell.

However, compared to the many other orphaned heroes who get their powers through accident or tragedy, Spider-Man sets himself apart by not just screwing himself over, but also by undermining the very principles of power and responsibility that he espouses. That doesn’t just make him an incompetent hero. It just makes him misguided, albeit not on purpose.

So what exactly makes Spider-Man inept by both the standards of a superhero and the standards that he sets on himself? Well, that has everything to do with his tactics and how he goes about them. If you’ve ever read a Spider-Man comic, seen a Spider-Man movie, or watched a Spider-Man cartoon, you know those tactics well. It goes like this:

  • Someone commits a crime
  • Peter Parker springs into action, putting on his costume and mask
  • Spider-Man fights the criminal, making jokes and quips along the way
  • The criminal whines and complains about how he’s ruining their master plan
  • The fight plays out and Spider-Man wins
  • Spider-Man ties the criminal up with his webs for the police
  • Spider-Man goes back to being Peter Parker and uses the pictures he takes of himself to make a living

This is Spider-Man’s primary method for dealing with crime and irresponsibility. It is the primary structure of every major battle he’s ever fought, be it the Green Goblin, Dr. Octopus, or Venom. While he wins/survives many of those battles, and even goes onto marry a supermodel for a while, it’s only when you step back and scrutinize the larger picture that you see how he loses his war against irresponsibility.

First and foremost, it’s important to establish that Spider-Man is one of those heroes who doesn’t kill. Like Superman and Batman, he goes out of his way to prevent the loss of life, be it innocent life or that of his enemy. That’s an understandable position to take. Killing is one of those unambiguous moral lines and many superheroes define their heroics by respecting that line.

For Spider-Man, however, this moral stand against killing is a major liability and the catalyst for his ineptitude. Granted, it’s not intentional, but the byproducts are unavoidable and those close to him have suffered as a result. Just ask Gwen Stacy.

Now I’m not saying Spider-Man is directly responsible for such suffering. Like all heroes, his intentions are good. He wants to help people. He wants to save lives. The problem is that, with his tactics, he’s doomed to hurt far more people than he helps.

This is because his tactics essentially guarantee that he will be a target, his loved ones will suffer, and his enemies will become stronger as a result. This isn’t just because Spider-Man refuses to kill them, although that is part of it. It’s because of the very persona that Spider-Man creates that his efforts are so inept.

Spider-Man, unlike Batman or Daredevil, doesn’t present a very intimidating presence. He’s many things, but intimidating isn’t one of them. His costume isn’t that intimidating. He doesn’t operate in the shadows or anything. He’s actually a well-known public figure, thanks largely to his own efforts and those of his boss, the ultimate blowhard that is J. Jonah Jameson.

This is a huge problem because it ensures that Spider-Man’s presence isn’t considered a major threat or danger to his enemies. He’s more of an annoyance or inconvenience. Whether they’re the Green Goblin or a simple mugger, they know Spider-Man isn’t going to kill them. He’s not even going to seriously wound them. He’ll just fight them, tie them up, and give them over to the police.

Even for those without access to overpaid lawyers, that’s not so much a threat as it is a frustration. On top of that, Spider-Man doesn’t really have meaningful conversations that get people to rethink their choices. He’s just cracks jokes, makes lewd comments, and generally carries himself with the maturity of a 13-year-old. Granted, this is part of his charm as a character, but it also ensures his tactics are doomed to fail.

It’s one thing to anger and annoy an enemy in the heat of battle. That can work to a hero’s advantage. However, the problems with Spider-Man manifest after the battle is over.

By annoying and angering his enemies, all he does is give them more incentive to fight him and hurt those he cares about. On top of that, he wears a flashy, distinct costume that’s easily recognizable in both night and broad daylight. It’s also well-known, thanks to his own efforts at taking pictures of himself and selling them to a newspaper.

Even before the era of smart phones and Twitter hacks, that’s putting a pretty big target on his back. He makes himself an identifiable figure on which his enemies can focus on. Even if they don’t know his identity, they know the source of their frustration. Since Spider-Man doesn’t scare them, they have every possible reason to fight him.

To make matters even worse, he gives his enemies a common threat to rally against. Anyone who knows anything about social psychology, or has just been to a Taylor Swift concert, knows that nothing unites people better than a common cause. He doesn’t just make his enemies stronger as individuals. He makes them stronger as a team. How is that responsible?

In essence, Spider-Man doesn’t intimidate his villains, doesn’t do anything to deter their irresponsible decisions, and gives them a common enemy to really around. If being responsible is deterring the kind of criminals that killed his Uncle Ben, then he’s the most irresponsible hero of all time.

I’m not saying Spider-Man has to start killing like the Punisher. I’m saying that his own tactics undermine his goals. Now you could make a similar criticism to characters like Batman or Daredevil because they don’t kill and their enemies constantly escape to torment them. However, there is one key difference that sets them apart.

Batman and Daredevil, despite their gaudy costumes, are intimidating. In fact, intimidation is a key tactic of theirs. Batman said it himself in the early scenes of “Batman Begins.” He seeks to strike fear in those that prey on the fearful. In this sense, he does succeed.

You could make the argument that because of Batman’s presence, there people in Gotham City who choose not to enter a life of crime. The prospect of dealing with Batman is scary. Fear is a powerful deterrent. Only the truly deranged criminals dare to enter this life and take on Batman. In that context, it makes perfect sense that the kind of villains he faces are the exceedingly deranged kind.

Spider-Man can’t make that claim. He can’t claim that he scares or intimidates people into not choosing a life of crime. If anything, his tactics may annoy ordinary people who wouldn’t otherwise consider such a life, but try it anyways just to shut him up or make a name for themselves.

Every hero is different. Every hero has their own set of tactics, goals, and ideals. However, no hero is as inept, incompetent, or irresponsible as Spider-Man. So long as he keeps doing what he’s doing, and Marvel has a huge financial interest in never allowing it to change, he’ll continue emboldening his enemies while guaranteeing that everyone around him suffers.

It’s both an irony and a tragedy. In his efforts to be responsible with his powers, Spider-Man conducts himself in the most irresponsible way possible. Even if it’s indirect and unintentional, the results are the same. He can still call himself a hero because of his principles. He just can’t call himself a very competent hero.

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Why Most Superheroes Are Woefully Incompetent (By Design)

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I’ve been meaning to do a post like this for a while now. It’s a topic I’ve actually tried to discuss on comic book message boards. Unfortunately, most comic book message boards too readily devolve into debates about who can lift Thor’s hammer, who Wolverine is sleeping with, and whether or not She-Hulk shaves her pubic hair. Yes, it gets that bad.

Ignoring, for a moment, the immaturity of certain crowds on message boards, there are certain issues pertaining to comic books and superheroes that are too easy to overlook. I say this as someone who is plenty eager to overlook the flaws in a story if it means seeing Starfire, Wonder Woman, Emma Frost, and Storm of the X-men kick ass and look damn sexy while doing it.

One of those flaws, ironically enough, deals with the actual pragmatics that come with being a superhero. Granted, those practical details are usually an afterthought in most superhero comics. Why would anyone give much thought to that when they could instead focus on giant monsters, killer robots, and the Hulk’s penis?

Some of the problem has entirely to do with fans like me. I freely admit that, as a fan, I’m part of the problem. Superheroes, whether they’re in comic books, cartoons, or blockbuster movies, aren’t created with the intent of being really good at their jobs. They’re created as a product to sell. That means they have to be compelling, engaging, and part of a meaningful story.

That’s why we don’t care if Spider-Man fails miserably to stop a criminal or if Superman fails miserably to keep Lex Luthor locked in prison. So long as it’s part of a story, we keep buying in. We increase our emotional and financial investment. It keeps the narrative going and, by default, the money for the company producing the merchandise.

That’s also why there will never be a superhero who is too good at fighting crime, defeating enemies, and solving problems. After a while, they do too much good and the world they live in just doesn’t have enough flaws to be interesting anymore. Who wants to read about Spider-Man anymore after he’s effectively solved New York’s crime problem and spends his days taking photos of hobos pissing on trees in Central Park?

On some levels, comic book companies and movie studios of the world knows this. They’ll never admit it outright, but in the back of their mind, they have to know that they can never let a hero be too competent. Even Superman has to slip up every now and then. Make no mistake though. He definitely has throughout his 70-plus year history, sometimes in laughably disturbing ways.

There’s a very simple reason for this and unfortunately, it’s neither heroic nor sexy. I’ll give you a hint. It’s valuable, it’s green, and it fits perfectly in a stripper’s G-string. If you need more than one guess, you should probably see a doctor.

Yes, I’m talking about money. If anything, it’s kind of ironic, given the values that many superheroes hold and how broke many superheroes often are. They’re created to embody our greatest values, but they’re sole purpose, from an image standpoint, is to make money for the company that owns their rights.

Fortunately or unfortunately, depending on how you look at it, superheroes do succeed in that respect. According to The Hollywood Reporter, Spider-Man alone makes over a billion dollars a year in merchandising. That’s not a typo. I said billion. Batman is a very distant second with a little less than half-a-billion.

Superheroes are big business these days, both in terms of making money and spending it. According to rumors by Bleeding Cool, the next two Avengers movies could collectively cost a billion dollars. Again, that’s not a typo.

It’s because superheroes make so much money and generate so much money for the economy that they have to stay incompetent to some extent. Just look at the superheroes of old, from Greek mythology to the bible to the medieval legends of King Arthur. They all have one defining trait. They all had definitive endings.

Whether tragic or triumphant, the heroes of old were part of a finite narrative that had an ending. King Arthur dies. Hector dies. Jesus Christ triumphs over the Satan. If these were comics, they would never survive in the modern market because they’re too complete. Modern superhero stories can never truly end.

Even iconic comics like Watchmen, which was supposed to have a definitive end, but DC Comics nixed that by incorporating it into their mainline superhero comics. Granted, this thoroughly pissed off Watchmen’s creator, Alan Moore, but he’s been pissed off for any number of reasons for the past 30 years so that’s not saying much.

Instead of ending, modern superhero comics are prone to a tricky phenomenon that most comic book fans know all too well. It’s called retroactive continuity, also known as a “retcon.” This is basically the literary equivalent of a mulligan.

Has Spider-Man become too convoluted, mature, and dark? A retcon will make him a lovable loser again. See “Brand New Day.”

Has Batman become too campy and goofy? A retcon will make him dark and gritty again. See “Batman Begins.”

Have the Fantastic Four become too flat and boring? A retcon will make them a team of jaded young millennials. See 2015’s “Fantastic Four,” although pretty much every Fantastic Four fan would strongly advise against it.

Thanks to retcons, superheroes never age. They can always be reinvented, re-tooled, and adapted for a new audience. Granted, that won’t stop some audiences from whining about it, but it effectively ensures that the narrative never ends and the particulars of the story at every point in the timeline are subject to change.

This can be a good thing sometimes, such as when a retcon gives us a great character like the Winter Soldier in the Captain America comics. However, it can also splatter painfully disturbing details on an established narrative that didn’t need it. Just talk to Spider-Man fans about a story called “Sins Past” and watch them become visibly ill.

In the end, however, it often means that characters never really progress beyond a certain point and the problems they hope to solve never go away. The Joker always escapes. Lex Luthor always returns. Spider-Man’s girlfriend gets killed, injured, or impregnated by his worst enemy. It’s as frustrating as it sounds.

Most superheroes will gloss over this detail by taking a stand against killing. That’s perfectly understandable on some levels. The morality of killing someone is one of those few moral issues that don’t generate too much debate, unless it involves Nazis in video games. However, in some respects, the anti-killing is both an excuse and a sales tactic.

Batman is, by far, the best example in this respect. Despite being the alpha and omega of an ordinary man achieving extraordinary feats without superpowers, Batman still cannot and will not stomach killing any of his villains. No matter how many times they escape, kill, or torment others, he refuses to kill them.

Ignoring for a moment the debate on whether he’s responsible for the deaths those villains subsequently inflict, there’s one other issue that makes Batman’s anti-killing stance more a marketing gimmick than a morality stand. Batman’s villains are iconic characters in their own right.

Just look at the list of famous Batman villains. Then, remember how many of them are popular Halloween costumes. Also keep in mind one of them earned Heath Ledger an Oscar and another got Margot Robbie to put on hot pants. Creating characters this iconic isn’t easy. That’s why comic companies and movie studios are so reluctant to kill them.

This is the dilemma that all superheroes face in modern comics and movies. If Batman kills the Joker, then there are no more iconic battles between the two. If Superman kills Lex Luthor, then there’s no more epic struggle. That means there are fewer comics to sell, toys to make, and slutty costumes to create. That situation, from both a fan and business standpoint, is untenable.

As a result, every modern superhero is, by design, incompetent to some degree. On top of that, the villains are either insanely lucky or ridiculously resilient. That’s why we’ll never see a version of Batman, Superman, or Spider-Man who actually succeed at reducing crime. That’s why we’ll never see the X-men or the Justice League actually create a peaceful world.

It’s not that it’s impossible. It’s just that it ends the story and the ability for big companies to make a boatload of money off them. That ensures every modern superhero is a walking paradox. They can never truly achieve their goal, but they can never stop trying either. It’s not because it’s the right, moral thing to do either. It’s because movie studios and publishing companies still need to make money.

That’s not very heroic, to say the least, but that’s the world we live in. Until money and movie rights stop driving superhero narratives, we’ll never see a truly competent superhero.

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The Logan Movie And Why It Matters

Today is a big day for X-men fans. As such, that means it’s a big day for me. I hope I’ve made it abundantly clear on this blog that I’m a big comic book fan and a big X-men fan. Hell, I dedicated an entire post to explaining why Storm is a better role model for girls than Wonder Woman. If that’s not enough to get my point across, then you’re just being difficult.

Today, the X-men fan in me is giddier than a school girl in a house full of puppies because this is the day the “Logan” movie comes out. This is not just another superhero movie for me, nor is it just another attempt by Fox to keep the X-men movie rights from returning to Marvel, although that certainly is part of it. This movie represents the end of an era for X-men and the potential beginning of another.

This movie was destined to be bittersweet because Hugh Jackman made clear that this movie would be his last time playing Wolverine. For X-men fans of the past 17 years, this is a big fucking deal. Hugh Jackman is to Wolverine what dick jokes are to Deadpool. They’re so intrinsically tied to one another. They make each other inherently better.

The fact that anyone can play the same character for 17 years in a major action movie that requires a ridiculous workout regiment says just as much about Hugh Jackman as it does about Wolverine. In that same time, we’ve had three actors play Spider-Man, two actors play Batman, and two actors play Superman. There has always been one Wolverine. Jackman sets that high bar. The cast of Justice League should take notice.

As an X-men fan, I will be sad to see Jackman hang up his claws after this. Wolverine will never be the same without him, but he’s better as a character because of him. For that, I will be eternally thankful to Mr. Jackman for his passion and dedication.

However, there’s another reason to be excited about this movie and it has little to do with Hugh Jackman or his sex appeal. I know. That’s a bold claim. I know many of the ladies out there would passionately disagree, but that reason is every bit as important as Jackman’s sexiness.

For this particular movie, as well as the future of the X-men in general, Wolverine isn’t the alpha and omega of all things X-men. It’s not just because the cast for X-men is so large and diverse. In this movie, Logan literally can’t be that guy anymore. His body, his spirit, and his resolve are breaking down. Even with metal bones and a healing factor, he just can’t do what he does anymore, nor does he even want to.

That’s where Laura “X-23” Kinny comes in. Who is X-23 and why should you care? Well, make no mistake. X-23 is a major reason to see this movie. She’s also a major reason to read the X-men comics because she is very much a part of the legacy that Wolverine has created.

X-23, who is played by Dafne Keen this movie, is one of the most important characters to enter the X-men comics in the past 20 years. She debuted in 2004 in season 3 of the X-men cartoon, X-men Evolution. For a kids show that aired on Saturday mornings, her story is pretty damn harsh.

On paper, she’s a clone of Wolverine. That’s not a new concept. Comic books are full of clone characters and stories about clones. Some of them are decent. Some are infamously terrible. However, X-23 took it many steps further.

Like Wolverine, she’s prone to outbursts of violent rage. She prefers solving her problems by stabbing them and she’ll spit, swear, and snarl in ways that would make any man’s balls feel a little bit smaller. She’s not a tomboy. She’s the kind of girl who beats the shit out of tomboys and looks badass doing it.

However, her story goes even deeper than that. X-23 never carried herself as a clone. She always carried herself as a part of Wolverine’s family. At first, she hated it. In fact, in her debut episode of X-men Evolution, she tried to kill him. Her reasons are best summed up by one succinct quote.

This is your fault, everything I am is because of you!

What exactly is she and why does she blame Wolverine? Well, one of the most defining traits, aside from his convoluted romantic history, about Wolverine is his mysterious past. It’s mysterious because a good chunk of it has been wiped from his memory. This mystery is a big part of what drove the first two Wolverine movies.

With X-23, however, she has no such luxury. She remembers everything and not just because she’s just a teenager. She remembers all the ways her creators tortured her. At least Logan got to live a life before he became a living weapon. X-23 was created from birth to be that same weapon. Every waking hour of her childhood was dedicated to turning her into a heartless killing machine.

Now I know I joke about how traumatic high school is for some teenagers, but what X-23 went through defies even the worst high school experiences, including gym class. She has been so systematically conditioned, trained, and abused to become more a thing than a person that it pisses her off and rightfully so.

In both X-men Evolution, and her comic book origin story “X-23: Innocence Lost,” she turns on her creators. By that, I mean she fucking maims every one of them. However, she still sees Logan as the reason she exists. It’s his DNA that made her. At first, she sees him as a source of pain. Eventually, though, she comes to see him as her salvation.

This is what is so meaningful and relevant about X-23 and her story. She was literally created to be more weapon than human. She was not supposed to have family, emotions, or attachments of any kind. Despite this, and all the torture that came with it, she still sought those connections out.

She even achieved it, thanks to her own efforts, as well as Logan. She came to see him as a father rather than an enemy. Logan, despite his predilection for beer and married women, embraced the opportunity to be a father to this girl. He brought out the best in X-23 and she brought out the best in him.

As a character, X-23 is both compelling and relevant. With Hugh Jackman leaving the X-men movies, who else can carry on his legacy? Deadpool can do a lot, even with his pants on, but even the sex appeal of Ryan Reynolds has its limits.

The X-men comics have already taken that step. After Wolverine died in a final battle against his creators, X-23 decided to honor her father’s legacy by taking on his mantle. On top of that, the yellow spandex looks better on her.

There’s one more reason why X-23 is so important to the future of the X-men, superhero movies, and female characters as a whole. At the moment, every comic company and movie producer not on a cocaine binge is trying to create better female characters. In many respects, they have plenty to work with.

DC and the Justice League have Wonder Woman, who is a already a female icon. Marvel has Captain Marvel, who they are working tirelessly to make into a female icon. The X-men also have Storm, a female character whose grace and badassery transcend race, gender, or whatever else hippies bitch about. However, X-23 represents something that’s different and vital.

It’s not just that these iconic female characters are all adults who have established themselves in competent roles. These characters try to embody the best of what women can be. X-23 follows a different struggle. She fights to overcome the dehumanization she endured as a child and become her own person. It’s a constant struggle, one that leads to some pretty brutal moments, but one that’s wholly relevant in 2017.

While “Logan” may be Hugh Jackman’s swan song to an iconic character, it’s also a celebration of the emergence of X-23. At a time when women have plenty of reasons to dread, X-23 represents the will and strength to confront those challenges, stab them, look damn good while doing it.

All his life, and through Hugh Jackman’s charisma, Wolverine claimed to be the best he was at what he did. Now, thanks to X-23, he can rest easy knowing that his legacy is secure.

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Jack Fisher’s Top 5 Most Underrated Female Characters

When it comes to great female characters in pop culture, there are plenty of obvious choices. Contrary to what radical feminists believe about massive patriarchal conspiracies, our culture has created some pretty amazing women, real and fictional alike. So if there is a patriarchal conspiracy, they’re doing a piss poor job.

The best of the best, when it comes to female characters, are difficult to dispute. In the world of fiction, there’s Wonder Woman, Storm of the X-men, Captain Marvel from the Avengers, Supergirl, Sarah Conner from Terminator, Ripley from the Alien movies, Leslie Knope from “Parks and Recreation,” and Furiosa from “Mad Max: Fury Road.”

In the real world, we have just as many amazing women that raise the bar for both genders. We have Senator Elizabeth Warren, Madonna, Oprah Winfrey, Emma Stone, Maralyn Munroe, Lady Gaga, Janet Jackson, Malala Yousafzai, Michelle Obama, Taylor Swift, and whoever manages Taylor Swift’s public image. In either case, men and women alike have a great many choices in admirable female icons.

As great as these female characters are, however, there are still some characters that get overlooked and under-utilized. They’re still great characters in their own right. They just tend to get lost in the vast, chaotic, and constantly-shifting landscape of popular culture.

The same thing happens to male characters, but for better reasons. While they’re are plenty of great men in pop culture, there are a few too many that are blatant rip-offs of Superman, John McClane, and Batman.

So with that in mind, I’d like to acknowledge some of the overlooked, under-appreciated female characters that help make our culture great in their own unique way. For the sake of keeping this post brief and concise, I’ll focus on fictional characters. I find it’s a lot harder to ignore a real person these days when the media landscape is so vast, broad, and prone to strange memes and piss poor fact checking.

Since fictional characters can’t raise their voice, create a hashtag, or get thrown in jail for violating their probation, I figure they need this acknowledgement more than most. So without further adieu, here are Jack Fisher’s top 5 most underrated female characters.


5. Elaine Benes (Seinfeld)

This one may be a bit controversial because Seinfeld is a sitcom from a very different era. It’s also a show that gets constantly criticized by the politically correct crowd, but these humorless assholes only serve to undermine a female character who is balanced, compelling, and every bit as broken as the men.

In a show that has so many memorable characters, including Soup Nazis, Elaine still stands out as a great female character that brought out the best in actress, Julia Louis-Dreyfus. Elaine was an ex-girlfriend of Jerry Seinfeld, but that was never the primary emphasis for her character.

Elaine is smart. She has a distinct personality beyond just being the only woman in the main cast. She’s also every bit as quirky. In a show that has someone like Cosmo Kramer, that’s an accomplishment. On top of that, she can dance like no one else.


4. Berta (Two And A Half Men)

I’m not going to deny it. “Two and a Half Men” is as dirty a show as they come. It’s crude. It’s vulgar. It contains some of the least likable characters this side of South Park. I can totally understand why the same politically correct assholes that whined about “Seinfeld” would whine about this show.

Despite all the crude vulgarity, this show still had Berta. Played by Conchata Ferrell, she was one of the best parts of this show. Even though she played the role of a housekeeper, she was one of the few who really stood up to Charlie and Alan Harper throughout the series. Those two can disrespect and denigrate all the women they want. However, they never dared to disrespect Berta.

Given the nature of the show and the very public meltdown that accompanied it, Berta definitely deserves credit for standing out. In a world with personalities like Charlie Sheen, that’s also an accomplishment.


3. Maria Hill (Marvel Comics)

In the world of Marvel Comics, there are dozens upon dozens of powerful female characters. From heavy hitters like She-Hulk to lovable underdogs like Jubilee, there are so many iconic characters who have a strong place in comic book lore.

Then, there’s Maria Hill. She’s not a super spy martial artist like Black Widow. She’s not a sexy assassin like Elektra. She’s not even a side-kick like Batgirl. She’s the director of SHIELD and often the right hand of its one-eyed visionary, Nick Fury. The fact she doesn’t have superpowers and is in such a high position of authority in the same comic book universe that has She-Hulk says a lot about her.

She’s not just a hardass authority figure, although she can be at time. She’s not just someone who’s every bit as determined and capable as Nick Fury either. She commands respect in her own way. She has a personality that’s distinct and tough. She could easily be a CEO or a drill sergeant. Whatever she is, she’s someone others eagerly follow. For any character, male or female, that’s pretty awesome.


2. Samus Aran (Metroid)

Video games tend to be a hot-button issue when it comes to women, thanks largely to some whiny, asshole critics who go out of their way to piss people off. I won’t get into all the inane bullshit surrounding that issue, but I will concede that in the early days, women were basically the same as Disney princesses. If they weren’t being rescued, they were often in the process of being kidnapped by some giant lizard monster.

Then, Samus Aran came along. In the early 8-bit days of gaming, she set herself apart by being a badass female bounty hunter at a time when other characters were either elves, plumbers, or GI Joe knock-offs. Her ability to kick ass in games was so surprising that some gamers didn’t realize that she was a woman until the very end.

Samus was, and still is, a breakthrough character who tends to get overlooked in an era where more emphasis is on outrage over female characters rather than whether the character is actually awesome. She fought, kicked ass, and looked damn sexy while doing it. What more could you want out of a female character that doesn’t involve a bottle of lube?


1. Daria Morgendorffer

Some concepts are just too ahead of their time to have the kind of impact they deserve. The same goes for certain characters. Sometimes, a character comes along in a certain era that embodies something that doesn’t become truly meaningful until years later.

For Daria Morgendorffer of the classic 90s MTV show aptly titled, “Daria,” she’s one of those characters who would’ve been a much bigger deal if her show was on today. Daria is not your typical female protagonist. She’s not overly sexual. She’s not overly charismatic either. However, what she lacks in overt femininity, she more than makes up for with a distinct, memorable persona.

She’s dry and sarcastic. She’s coarse and brutally honest. She’s also caring and understanding when she needs to be. She’ll say what others are afraid to say and not give a damn who gets upset in the process. She never comes off as an overplayed trope or cliche. She’s very much her own person.

She’s also got an emotional side. Her feminine side isn’t completely subverted. Throughout the show, she has multiple love interests, including one that becomes a steady boyfriend. As a character, she feels both unique and real. She’s someone that men and women alike want as a friend and a companion. Few characters, female or otherwise, can make that same claim in modern TV show.

For me, personally, Daria has a special place in my heart. She was, and still is, one of my favorite TV characters in the 90s. I feel like TV has been missing something since her show ended. While she may have been ahead of her time, her words of wisdom ring true in any era. With that in mind, I’ll leave everyone with this:

Um, thank you. I’m not much for public speaking. Or much for speaking. Or, come to think of it, much for the public. And I’m not very good at lying. So let me just say that, in my experience, high school sucks. If I had to do it all over again, I’d have started advanced placement classes in preschool so I could go from eighth grade straight to college. However, given the unalterable fact that high school sucks, I’d like to add that if you’re lucky enough to have a good friend and a family that cares it doesn’t have to suck quite as much. Otherwise my advice is; Stand firm for what you believe in, until and unless experience proves you wrong. Remember, when the emperor looks naked, the emperor is naked. The truth and a lie are not sort of the same thing. And there is no aspect, no facet, no moment of life that can’t be improved with pizza. Thank you.

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