Sociologists often use language to understand culture.  Language is particularly effective in understanding cultural diffusion and cross - cultural tendencies norms.  It is part of what is referred to as ‘cultural relativity.’  Language affects culture, and vice-versa.  For example, cultures that tend to name their sons ‘Jesus’ tend to be more Christian.  According to the father of linguistics Benjamin Lee Whorf, 'Language shapes the way we think, and determines what we can think about.

 

If this theory was applied to comics, then a comic figure that is mentioned in other uses would be a popular social icon.  There is only one figure in comics which is used in multiple languages and contexts; the son of Krypton himself, Superman.

 

The term Superman is now a catch phrase for any male performing an seemingly incredible feat of strength or heroism, especially where woman are concerned.  (Think Eminem and “I Can’t Be Your Superman.”) And not just in English.  Superman as a term has the same context whether in Spanish "Superhombre", Chinese "Chao Ren" , or my favorite "Su-Pa-Man" (Japanese.)

 

You can thank over seventy years of comic book serials, movies, animated TV shows, action figures etc. for bringing this term from part of Nietzsche's philosophy to become forever more associated with the “Man of Steel.”  Part of the allure of Superman as a term is it matches Nietzsche’s philosophical concept in so many ways, both physically and mentally.  Superman is inhumanly strong, fast, bullet proof; with a character that is completely flawless and unselfish.  He is the personification of the ideal that Nietzsche himself admits that no man is able to reach. 

The inspiration Christos Cage, for his action packed, psychological ongoing nine issue comic mini-series “Absolution” is the southern mantra, “Some people just need killing.”  Also known as “street justice,” it is when an individual seemingly has the righteous responsibility to fatally punish an individual for a crime committed.  The rationale has been used in successful court cases in Texas even today first dating back to famous successful self defense case of gunslinger “John Wesley Hardin.”  It is a common theme in American literature, found in classics such as To Kill a Mockingbird, and modern classics like to “A Time to Kill.” 

 

In comics “street justice” is not a new theme either.  The hero is already taking the role of law enforcer into his own hands, why not the role of law judicator as well?  Although normally it is the “line that is never crossed” even as old as the clique goes.  I actually am not the only reader who has ever thought, if the Joker escapes a hundred times and kills one person each time at what point does the body count become Batman fault for not giving the Joker that one extra kick to the head he deserves?  (Or is truly asking for??)

There are rare exceptions to this case, most famously with Marvel’s anti-hero, “The Punisher” but there have been other notable examples; one other great example of a renegade hero is J. Micheal Stratackynki’s “Supreme Power” character NightHawk.  (Check of the six issue mini-series, Supreme Power: NightHawk.) Yet the premise is almost always very one dimensional, a non-apologetic revenge story.  I have come across nothing as fresh and cerebral as Christos Cage new six-part mini-series “Absolution.”

¨Pixu: The Mark of Evil¨ is pure artistic genius.

 

Technoroti: PAPGESX26CRS

 

Actually I tried not to avoid even reading this book - If only because I generally hate horror themed comics in general; as well as the fact that this graphic novel is illustrated in black and white.  Two things in comics I try to avoid.  A colorless comic takes a hell of artistic talent to make the genre workbook flow, especially with the use of shadowing.  And the only notable example I can think of a horror genre comic that is more than a illustrated remake of a bad John Carpenter film with is Ben Templesmith´s ¨40 Days of Night.¨

 

The two-part comic serial of ¨Pixu: The Mark of Evil¨ has been released since 2008 from Dark Horse Comic Publishing, which is known as the premier publishers of horror genre comics in the industry.  One friend had been continually preaching what a great title this is, and how this was the must read comic of 2008. Considering this is the same friend who liked the ¨Transformers 2¨game for XBOX 360 I did not give his opinion any serious consideration.

 

When the graphic novel of ¨Pixu¨ was released in July this year I bought it only because so many close friends of mine were so impressed by this title.  Now I know what the ¨hype¨ is about – Pixu is the most groundbreaking horror graphic novel in years.  This is far from your typical gothic masturbation trip normally seen in the horror comic genre.

Gath Ennis and Jacen Burrows take the zombie genre to the limits in “CROSSED.”

Comics have been going zombie crazy lately. Over the last few years we have seen more and more zombie titles such as the popular and innovative “Walking Dead” and the “28 Days Later” series. Comics have been doing what they do best; taking a theme that had become generally stale in the movie industry and figuring out new and interesting angles to bring to the public. However, everything has its limits.

The best example of this is the Marvel Comics “Marvel Zombie” miniseries. What started as a great set of character generations by Mike Millar in “Ultimate Fantastic 4” #21 was followed up by the popular and creative “Marvel Zombies” miniseries by Robert Kirkman both in 2005. The series gave us a chance to see our favorite heroes run amok in a humorous fashion. Marvel then went on to continue with their time honored tradition – taking a good idea and completely over serializing it. The beginning of the fifth installment of the ¨Marvel Zombie¨ franchise was released in September 2009, though the quality of each miniseries has continually diminished. (I could deal with the Marvel Zombie civil war, but Marvel Zombies vs. Marvel´s cast of C-string heroes was unoriginal and pathetic.)

The traditional Superhero is finally beginning to break its stranglehold on American comics.

There have been times when I have wondered if my local comic book vendor actually likes me, or if the meaning of the smile on his face on my arrival to his shop is because I single-handedly pay the monthly electricity bill… My vendor is always quite happy not only to provide me with my standard monthly serials as well as new or interesting books to make sure I leave the store with my wallet a little lighter than I originally planned. This is traditionally how the comic industry works in America. Your local comic book shop is not only the place where you purchase your favorite monthly titles and browse new ones, but is generally the place where you can socialize with other like minded individuals.   It is one of the few places where it is socially acceptable to chat about all “geek” issues, such as comics, sci-fi, and anime with strangers and friends alike without fear of ridicule from your more unimaginative co-workers and classmates.   (Unless you are working for NASA perhaps.) However as much I enjoy my local comic book shop is there is an ongoing tendency I have noticed that I do find strange - The lack of support for independent titles.

An independent comic is defined as either a book not released by a mainstream comic publisher or has a more realistic plot line; as opposed to the industry standard of “superhero” related themes such as American comic avatars such as “Spider-Man,” “X-Men,” or “Superman.” Independent comics are otherwise known as small-press, self – published, alternative, or underground comics.  My personal definition of independent comics is of any comic serial, single issue, or graphic novel that breaks away from American mainstream industry standards in terms of publishing independence, subject matter, or maturity level of the intended audience.

Warren Ellis' “FreakAngel's” Is Not Only Hands Down the Best Web-comic To Date, It is Almost Certainly Potentially ...the Future of the Industry

There is no doubt that the Internet is one of greatest inventions to date for humanity.  The ways in which it has changed life on planet Earth are as yet immeasurable.  Yet for the comic book industry the Internet has not yet quite caught on.  Marvel is the only major publisher to date that has an option to legally view comics in a digital format, but only from a small selection of their collection. The biggest change to the industry from the perspective of the Internet is from the illegal copying of paper serials into digital format.   Then the comics can be downloaded digitally, usually by the use of the torrent network or directly viewed online ...this is known as pirate scanning.  This practice is generally frowned on by the magazine industry.  In an attempt to stem the practice the Marvel legal team forced the shut down the server of Z-Cult.Com, the biggest comic scan website back in 2007, with a lawsuit.  Undeterred, illegal have flourished. The other revolution within the comic industry has been with the concept of webcomics.  This is the posting off free comic serializations on the Internet, mostly in .jpeg format. To date most works have been posted by amateurs; showcasing their work in the hopes that it will lead to future paid commissions, or to create hype to incite future sales of their publication.  Some on the other hand post work just for personal enjoyment.  As the once niche market matures, there are now a handful of professional web-comic artists and writers, making their income solely off the profits from web advertising and selling print copies of their serials.