Yeah, it is kind of cool. But technically it's the combined power of Professor X and the Shadow King that's convinced his body he's crippled.
Illogical comic book logic
- Thread starter StarTrek1701
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Yeah, it is kind of cool. But technically it's the combined power of Professor X and the Shadow King that's convinced his body he's crippled.
So basically it's a software problem.
FF: Big Town took on the issue....In DC's Starman, Jack chides his father for having the tech to invent the gravity rod...but not expanding and applying the tech to solving the more mundane, everyday type of problems. He agree's to take his fathers Starman mantle if his father will develop the tech for the betterment of humanity.
Also, when Kurt Busiek created the realistic Astro City, he flat out stated that while he would have advanced tech, the world would not be affected by it anymore than in the Marvel and DC universes because it would bear little to no resemblance to the world we live in. As such, it would be harder to relate to.
Also, when Kurt Busiek created the realistic Astro City, he flat out stated that while he would have advanced tech, the world would not be affected by it anymore than in the Marvel and DC universes because it would bear little to no resemblance to the world we live in. As such, it would be harder to relate to.
Again...I thought Charles has been walking around in the comics lately? I like the idea of it being some kind of psychic trauma that is keeping him from walking.
That's the thought I was thinking as well. They have a huge humanoid from the edge of the Universe devouring entire planet's energies and Earth-sciences to defeat that ancient evil, yet they can't get Matt Murdock to request Reed Richards to create visual accute implants for him?
I've really always kind of wondered how true that assertion was. On the one hand, you've got stuff like Star Trek, which especially TNG and forward is ridiculously advanced, but plenty of people manage to relate to it (and, for what it's worth, perhaps several million more than manage to relate to the DC or Marvel universes
). On the other hand, and looking into comics specifically, you have the history of relative commercial failure that is the Legion of Super-Heroes, so maybe it's right.And yet, when you read something like FF, how often does what the outside world looks and acts like matter? You're dealing with a super-scientist protagonist fighting super-scientist antagonists or giant space gods, and all you see just about is crazy future fake technology. I mean, I guess it's just for the benefit of Spider-Man that we don't see the personal jetpacks and daily commutes to Mars.
I think high-technology could work all right in a universe more like the DCU, though. You don't have that glut of street-level doofi, like Spider-Man, Daredevil, Iron Fist, Luke Cage, and so forth, whose settings would be ruined, except for Batman, and Batman is already a super-scientist anyway.
Yeah, I remember that one. Englehart is one of my favorite writers.
Yes, indeed. What a great series that was.
Generally speaking, yeah, it was pretty awesome. I have my problems with its ending; and even deeper ones with how Warren Ellis essentially got bored with it* and then had the nerve to get really annoyed when people he apparently wished to bilk out of about fifty bucks were bothered that it took him ten years of work and five years of cajoling to write the ending. Also the occasional problem with John Cassaday, who is also great, make no mistake, getting characters badly off-model, especially Jakita. (Yet never, of course, the Drummer. 
)**
And I still can't exactly tell if 27, the epilogue, is just good or actually kind of great, though.
*And had an illness, yeah. But he wasn't too sick to do a bunch of other stuff in the meantime, and frankly it's not like Planetary was a really complex, Watchmen-hard story at its heart. It had a shitton of secondary material to include--which is what made it interesting--but after issue 12 and especially after the Opak Re issue it was no longer a mystery story, and hence seems like it would have been rather straightforward to conclude, especially given how Ellis did conclude the Snow/Dowling conflict in 26, which was in a manner straightforward-to-a-fault, with an anticlimax so fierce and a final battle so poorly done it was likely intentional--either as a fuck you to whiners, a complete lack of care, or as a deliberate thematic choice, it's hard to say. You can argue all pretty effectively.
**You know, I probably wouldn't even mention that kind of needling crap for an artist of a lesser caliber, to be honest. I mean, if Greg Land's tracing Sierra Sinn for Susan Storm one minute and Sasha Gray the next, I don't complain, because I know he's a hack. Cassaday by contrast is one of the best working artists, so when he doesn't do his best, it shows more. High expectations are kind of a double-edged sword, I suppose.
)**And I still can't exactly tell if 27, the epilogue, is just good or actually kind of great, though.
*And had an illness, yeah. But he wasn't too sick to do a bunch of other stuff in the meantime, and frankly it's not like Planetary was a really complex, Watchmen-hard story at its heart. It had a shitton of secondary material to include--which is what made it interesting--but after issue 12 and especially after the Opak Re issue it was no longer a mystery story, and hence seems like it would have been rather straightforward to conclude, especially given how Ellis did conclude the Snow/Dowling conflict in 26, which was in a manner straightforward-to-a-fault, with an anticlimax so fierce and a final battle so poorly done it was likely intentional--either as a fuck you to whiners, a complete lack of care, or as a deliberate thematic choice, it's hard to say. You can argue all pretty effectively.
**You know, I probably wouldn't even mention that kind of needling crap for an artist of a lesser caliber, to be honest. I mean, if Greg Land's tracing Sierra Sinn for Susan Storm one minute and Sasha Gray the next, I don't complain, because I know he's a hack. Cassaday by contrast is one of the best working artists, so when he doesn't do his best, it shows more. High expectations are kind of a double-edged sword, I suppose.
While we're on the subject, I've often thought that Bruce Wayne could combat crime far more effectively if he'd take that money he spends on crimefighting equipment and invested it in job programs, infrastructure repair, education and after-school activities for inner-city kids, psychological services for fired employees of high-tech companies or victims of disfiguring accidents, etc.
During Simonson's run, Sue asked why Reed could invent all this other stuff but couldn't invent a completely automated laundry system. (She was grumpy after doing a bunch of laundry, of course.)
His response was, "I tried that once, but I couldn't get rid of the phosphates! Besides, imagine how many Chinese laundries in New York City it would put out of business. No, some things are just too dangerous to tamper with!"
At that point she nearly decked him.
I guess Holy Moore is the only guy that could write about her getting better. Come on man, you won't live forever.
Its possible that a part of his money does go to these things. I think there were some Wayne fondations or charities, but I can't remeber the details.
Actually, there have been numerous interviews with DC execs about this - Barbara is unlikely to walk again because she represents a disabled superhero, which is considered a highly politically correct casting coup, so to speak.
Well it is good to present disabled people making a positive contribution.
That Batman idea would probably make a pretty funny Elseworlds, if they're still doing that sort of thing.
That Batman idea would probably make a pretty funny Elseworlds, if they're still doing that sort of thing.
Yeah, almost like Lost, the ending was underwhelming, but the journey was fantastic.
