The Culture Cave Crashes the Academy Awards

Jay here.

With the Oscars fast approaching this Sunday, I thought it might be fun to get Matt involved and pick our winners, along with sharing our personal favorites and who would win if we were running the show. Now, Matt and I both think the Academy Awards are pretty much a joke. It is more rare that the film or person who should get the award actually does. The show really has much more to do with popularity, politics and marketing than actually selecting the best in any given category. That is why they have become so easy to predict. You can easily tell, for the most part, who the winner is going to be if you know how the system works.

So, here are the nominees for each category, which one we think will win, which one we think should win, and finally if we had our way who would win, even if they aren't nominated . . . .


Best Visual Effects

Gravity
The Hobbit: The Desolation of Smaug                          

Gravity

Iron Man 3
The Lone Ranger
Star Trek Into Darkness

Jay's Picks
Who Will Win: Gravity
Who Should Win: Gravity

If Jay Ran Things: Gravity would still win. It is a technological marvel that advanced the medium. It deserves to be recognized for its innovations.

Matt's Picks
Who Will Win: Gravity
Who Should Win: Gravity

If Matt Ran Things: The only reason I think Gravity will win is because they had to use a s*@%load of special effects for this film and because it is supposed to be a movie based in reality, I think it will get it.


Best Foreign Film

The Hunt

The Broken Circle Breakdown
The Great Beauty
The Hunt
The Missing Picture
Omar

Jay's Picks
Who Will Win: The Great Beauty
Who Should Win : The Hunt

If Jay Ran Things: The Great Beauty won the Golden Globe, so it is a safe bet to think the Fellini-esque picture will take home the prize. For me, though, The Hunt was so compelling and full of suspense. It had one of the best performances of the year from Mads Mikkelson. It should be the winner, and could pull an upset. Funny, was the Academy too scared to nominate Blue is the Warmest Color? The Cannes winner was shut out . . . .

Matt's Picks
Who Will Win: N/A
Who Should Win: N/A

If Matt Ran Things: N/A

Stories We Tell

Best Documentary Feature
The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet From Stardom

Jay's Picks
Who Will Win: The Act of Killing
Who Should Win: The Act of Killing

If Jay Ran Things: To be fair I've only seen three of the nominated docs (The Act of Killing, Dirty Wars, and The Square) but if I had it my way two others would be nominated here - Stories We Tell and Blackfish - with Stories We Tell taking home the Oscar. Sarah Polley's very personal documentary was ignored for unfathomable reasons. Oh yeah, the Academy always screws up this category!!

Matt's Picks
Who Will Win: N/A                                                                            

Blackfish

Who Should Win: Blackfish

If Matt Ran Things: It didn't even get nominated but I'm putting in here what I think should win. Blackfish, the documentary by Gabriela Cowperthwaite about killer whales and SeaWorld's mistreatment of the animals. This should be mandatory viewing for everyone ... especially before making that "super special trip to SeaWorld!"


Best Original Song
"Happy" from Despicable Me 2 (Pharrell Williams)
"Let it Go" from Frozen (Idina Menzel; Kristen Anderson-Lopez & Robert Lopez)
"The Moon Song" from Her (Karen O)
"Ordinary Love" from Mandela: Long Walk to Freedom (U2)

Jay's Picks
Who Will Win: "Let it Go"
Who Should Win: "Let it Go"

If Jay Ran Things: I think "Let it Go" deserves the win. There really wasn't a good amount of quality songs to choose from this year.

Matt's Picks
Who Will Win: "Let it Go"                                                     

(l. to r.) Kristen Anderson-Lopez, Idina Menzel, Robert Lopez

Who Should Win: "Let it Go"

If Matt Ran Things: No one can beat Menzel's vocals! Plus, the song lends perfectly to the film and what the film's character Elsa is going through. I would have liked to have seen Oscar Isaac and Marcus Mumford (of Mumford & Sons) at least be nominated for "Fare Thee Well (Dink's Song)" from Inside Llewyn Davis, but I guess it wasn't really considered "original" because of its origins from the 18th century English folk ballad "Fare Thee Well."


Best Adapted Screenplay

Short Term 12

Before Midnight
Captain Phillips
Philomena
12 Years a Slave
The Wolf of Wall Street

Jay's Picks
Who Will Win: 12 Years a Slave
Who Should Win: Before Midnight

If Jay Ran Things: Destin Cretton would be nominated and win for his brilliant film, Short Term 12. Because he adapted it from a shorter version of the same movie he made before, I'm betting it would be slotted in this category.

Captain Phillips

Matt's Picks
Who Will Win: 12 Years a Slave Who Should Win: Captain Phillips

If Matt Ran Things: 12 Years was a great film that is long overdue, but Captain Phillips left me in jaw-dropping awe!






Best Original Screenplay

Her

American Hustle
Blue Jasmine
Dallas Buyers Club
Her
Nebraska

Jay's Picks
Who Will Win: American Hustle
Who Should Win: Her

If Jay Ran Things: Spike Jonze would win for his brilliant screenplay for Her, one of my favorite films of the year. He could pull out a win if the Academy decides to reward him here since there's no chance his movie will win Best Picture.

Matt's Picks
Who Will Win: Dallas Buyers Club
Who Should Win: Her

If Matt Ran Things: Is Her the best story I've seen in this category? Of course! Will it win? Most likely, not. Even though the story behind Her is something the media and you and your friends have played with in passing conversation, it's still original. But ... no matter. Unfortunately, I think Dallas Buyers Club will win. Should it win for "Best ORIGINAL Screenplay?" No. Wanna know why? It's not "original" by Academy standards and certainly not by my standards -- and yet it still gets nominated! It's not considered "original" because the movie is 1) based on a true story, 2) the story was written already as a 1992 feature in The Dallas Morning News, and 3) screenwriter Craig Borten had access to the real-life Ron Woodroof's personal journals so most of the material was previously written.


Best Animated Feature

The Wind Rises

The Croods
Despicable Me 2
Ernest & Celestine
Frozen
The Wind Rises

Jay's Picks
Who Will Win: Frozen
Who Should Win: The Wind Rises

If Jay Ran Things: If you read my review of Hayao Miyazaki's final epic then you know I'm a fan. It really doesn't matter, though, because the blockbuster popularity of Disney's Frozen will win out. It is kind of a joke when you consider The Wind Rises, with its traditionally drawn animation, is like watching art come alive on the screen paired with a touching love story. And Frozen, even though I'm sure it has a good message, is going to win because it is more popular and accessible.

Matt's Picks
Who Will Win: Frozen                                     

Frozen

Who Should Win: Frozen

If Matt Ran Things: Yes, Frozen is more than just a love story! And that's why I think it should win. Plus, you can't beat the music and the fact that both kids and adults can watch it and be pleasantly entertained. I have to say I was impressed.



Best Cinematography

Gravity

The Grandmaster
Gravity
Inside Llewyn Davis
Nebraska
Prisoners

Jay's Picks
Who Will Win: Gravity
Who Should Win: Gravity

If Jay Ran Things: The most talented and daring cinematographer working today, Emmanuel Lubezki, should win the Oscar for his jaw-dropping work in Gravity. All the other nominees, as talented as they are, might as well not show up.

Matt's Picks

Prisoners

Who Will Win: Gravity
Who Should Win: Prisoners                                            
If Matt Ran Things: Prisoners should have gotten a lot more nominations, but Gravity will win because it's the "Academy darling" this year.

12 Years a Slave

Best Actress in a Supporting Role

Sally Hawkins - Blue Jasmine
Jennifer Lawrence - American Hustle
Lupita Nyong'o - 12 Years a Slave
Julia Roberts - August: Osage County
June Squibb - Nebraska

Jay's Picks
Who Will Win: Lupita Nyong'o
Who Should Win: Lupita Nyong'o

If Jay Ran Things: Nyong'o is so good in her role as the abused slave girl, Patsey. She manages to upstage everyone in each scene she's in as her character desperately tries to avoid the growing menace of her master, played by Michael Fassbander and his jealous wife, played by Sarah Paulson.

Matt's Picks
Who Will Win: Jennifer Lawrence
Who Should Win: Lupita Nyong'o

If Matt Ran Things: I LOVE Jennifer Lawrence, who has already been given the unfortunate, pretentious title of "America's sweetheart" (by the press; the actual Lawrence, I think, would roll her eyes at the title), but this credit should be given where credit is OBVIOUSLY due! Bravo, Ms. Nyong'o!

12 Years a Slave

Best Actor in a Supporting Role

Barkhad Abdi - Captain Phillips
Bradley Cooper - American Hustle
Michael Fassbender - 12 Years a Slave
Jonah Hill - The Wolf of Wall Street
Jared Leto - Dallas Buyers Club

Jay's Picks
Who Will Win: Jared Leto
Who Should Win: Michael Fassbender

If Jay Ran Things: I find it ridiculous that Jared Leto is going to win this Oscar over a performance like Fassbender's which is really terrifying and unhinged. He's just too detestable and evil for Academy voters to choose him, though.

Matt's Picks
Who Will Win: Jared Leto
Who Should Win: Michael Fassbender

If Matt Ran Things: Sorry, there are rules to winning an Academy award. Take a particular role, and if you do well enough, you're a shoo-in! Hmmmm .... plantation slave owner .... or .... HIV-positive transgender woman? I wonder who will win?


Best Actress in a Leading Role

Amy Adams - American Hustle                                           

Short Term 12

Cate Blanchett - Blue Jasmine
Sandra Bullock - Gravity
Judi Dench - Philomena
Meryl Streep - August: Osage County

Jay's Picks
Who Will Win: Cate Blanchett
Who Should Win: Cannot believe I'd ever say this, but . . . . . Sandra Bullock

If Jay Ran Things: Both Julie Delpy (Before Midnight) and Brie Larson (Short Term 12) would be nominated here with Larson winning. I know it is a stretch but her performance as Grace was my favorite of the year.

Matt's Picks
Who Will Win: Cate Blanchett
Who Should Win: Brie Larson (Short Term 12)

If Matt Ran Things: I'm breaking the rules and picking my own winner because ... it says "If Matt Ran Things!" Unfortunately, either Blanchett or Bullock will win. But they didn't really "wow" me!  As far as I'm concerned, Brie Larson packed more emotional punch in her performance in Short Term 12 than both of those nominees combined. But it's not just that. Larson was relatable and yet not, taking the viewer into her world they think they know ... until her little world turns tables on her and the audience. Great film!

The Wolf of Wall Street

Best Actor in a Leading Role

Christian Bale - American Hustle
Bruce Dern - Nebraska
Leonardo DiCaprio - The Wolf of Wall Street
Chweitel Ejiofor - 12 Years a Slave
Matthew McConaughey - Dallas Buyers Club

Jay's Picks
Who Will Win: Matthew McConaughey
Who Should Win: Leonardo DiCaprio

If Jay Ran Things: Leonardo Dicaprio gives the best performance of his career as Jordan Belfort, the reprehensible, greedy, scoundrel of Martin Scorsese's epic of excess. McConaughey's performance was more "feel-good" so he will win over the Academy who loves an afflicted character who fights the odds. Also, I would have nominated Mads Mikkelson as well for his role in The Hunt. But, alas, there was no chance . . . .

Matt's Picks
Who Will Win: Matthew McConaughey
Who Should Win: Hugh Jackman (Prisoners)                              

Prisoners

If Matt Ran Things: Again, breaking the rules. It will be no surprise when McConaughey's name is called. And I would pick DiCaprio for "who should win" ... if he were nominated for the right movie (sorry, but his performance in The Great Gatsby far outweighed his role in Wolf when it comes to emotional depth and substance)! Hugh Jackman should have been nominated ... especially instead of Bruce Dern -- but, Dern gets what I call, the "sympathy" nomination/win (Dern's performance was not impressive nor mesmerizing). Jackman's role as a father blinded by vengeance far outweighs most of those listed here -- with the exception of Chweitel Ejiofor (if I had to pick from the normal nominee list, it would be Ejiofor).

Alfonso Cuaron

Best Director

David O. Russell - American Hustle
Alfonso Cuaron - Gravity
Alexander Payne - Nebraska
Steve McQueen - 12 Years a Slave
Martin Scorsese - The Wolf of Wall Street

Jay's Picks
Who Will Win: Alfonso Cuaron
Who Should Win: Alfonso Cuaron

If Jay Ran Things: Look, I know some of you out there don't get it, but Cuaron's work on Gravity is the work of a master filmmaker at the top of his game. I am disappointed Spike Jonze was not nominated here for Her. I would have kicked Payne out for Jonze. Also, Richard Linklater might have found his way in there for Before Midnight.

Matt's Picks
Who Will Win: Alfonso Cuaron                                          

Steve McQueen

Who Should Win: Steve McQueen

If Matt Ran Things: Gravity was very impressive, but in terms of technicalities, there's a lot more to directing multiple sets, actors, extras, editing and so on ... as opposed to directing one or two people, editing, and leaving A LOT of special effects to a separate crew. I know Cuaron still has oversight on the effects, but McQueen's movie was more epic with many more actors and motivations to control, so I think he nudges ahead of Cuaron.





Best Picture

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

Jay's Picks
Who Will Win: It's so close but . . . . . 12 Years a Slave
Who Should Win:  Her

If Jay Ran Things: For me, there are three deserving movies here - Her, Gravity and The Wolf of Wall Street.  I would have nominated Before Midnight and Short Term 12 over Captain Phillips and Philomena. It's tough for me to choose, but I think Gravity is the most accomplished film of the year, while Her is my personal favorite. So, the Oscar goes to  . . . . . Spike Jonze's Her.

Matt's Picks
Who Will Win: Dallas Buyers Club
Who Should Win: Her

If Matt Ran Things: There's not much to say about a film that challenges the concepts of love, human relationships and how we live our lives. Both films achieve this, but I simply felt like Her was more unique, whereas Dallas Buyers Club is simply a mix of Blow and Philadelphia. I'd like to see Her win but wouldn't be hurt if 12 Years wins. I think Gravity has a good chance of winning just because it will be "the big winner" of the night in most categories ... even though I don't agree with most of the wins it probably will take and the underrated All is Lost told almost the same type of story as Gravity but without the gimmicks; All is Lost is like the Ernest Hemingway version of Gravity.

"It's Just a Ride": A Tribute to Bill Hicks

"I deal only in facts, that's why I'm a cocky bastard."

Matt here! Today marks the sad 20-year anniversary of when the world lost a true visionary, a comedic legend and even, I dare say, a prophet. Stand-up comedian Bill Hicks was only 32-years-old when he passed away in 1994. I often say that Hicks is one of my most favorite people -- let alone comedians -- to have ever lived. To me, Hicks was not just a stand-up comedian. He was a philosopher, a social critic, a satirist, and someone who was not afraid to point out hypocrisy as well as someone who tried to right many wrongs through his comedic observations.

Hicks was born on December 16, 1961, to Jim and Mary Hicks, the youngest of three siblings. He started doing stand-up comedy in Texas when he was only 16-years-old. He was inspired by comedians such as Woody Allen, Richard Pryor, Sam Kinison, and George Carlin, and soon learned that he got the most laughs when he did impressions of his family, and pointing out their eccentric ways. By 1987, Hicks had moved to New York City and had begun perfecting his routine, which came to fruition in 1990 when he released his first comedy album, Dangerous, and performed on HBO's One Night Stand. In 1993, he was asked by progressive heavy metal band Tool to open for them at the Lollapalooza music festival, and the band later featured a clip of Hicks' routine on their album AEnima (1997), which they dedicated to Hicks. On June 16, 1993, Hicks was diagnosed with pancreatic cancer that had spread to his liver. His final performance was at Caroline's in New York on January 6, 1994. Hicks died at his parents' house in Little Rock, Arkansas, on February 26, 1994. (NOTE: For a more in-depth view into what Bill Hicks was -- and still is -- all about, check out the masterful 2009 documentary American: The Bill Hicks Story.)

I discovered Bill Hicks soon after graduating high school, which, coincidentally, was soon after he died (1994). The number one thing I respected and admired about Hicks was how he didn't make the usual generic observations that comedians make. You know? Family bits (he did those in his youth), bits about everyday rude people, or the usual ongoing battle-of-the-sexes observations? Don't get me wrong. He would occasionally wade into those waters. However, his stuff deals more with political, religious, social, military, and moral issues. The only comic who had come before him who had dealt with such issues was Lenny Bruce (from the 1950s and 1960s) and George Carlin, who was just starting to touch on these subjects in the 1980s. Since Hicks, there have been comics such as Denis Leary, Lewis Black, Louis C.K., Patton Oswalt, Doug Stanhope, Joe Rogan, Bo Burnham, and Lee Camp who are just a few of the comics inspired by Hicks' style. But what is most legendary about Hicks is how his ideas are still relevant today ... 20 years after his death. Even Hicks' routine about former President George H.W. Bush and the first Iraq War could practically have been also said about George W. Bush and his Iraq War. Ironic. Sadly, the same hypocrisy and injustice that Hicks addressed during his life are still present today -- in fact, some of these issues have become more prevalent since Hicks' time on stage. And the fact that one can listen to Hicks and still hear him make a valid point about these issues (i.e., religion, abortion, killing, the JFK assassination, politics, pointless television, war, drugs, sex, and music) ultimately proves his true talent for remaining socially relevant to our society today. 

Many of Hicks' topics were -- and still are -- hot-button issues; which is why some people do not like him, care for his comedy, or downright loathe him. I, on the other hand, enjoy the way Hicks' material can make me laugh and think. His delivery on criticisms and pointing out hypocrisy is my style of comedy. Oscar Wilde once said, "If you want to tell people the truth, make them laugh, otherwise they'll kill you." Even Hicks knew a good amount of people didn't care for his comedy. This is one of my favorite interviews with Hicks on that very subject. And it's a good introduction before showing his more controversial clips.

"When did thinking not become entertaining!?"

First off, people who have not been exposed to Hicks' comedy before should know that Hicks was not an atheist -- not that there's anything wrong with atheism (he was raised Southern Baptist and spoke lovingly of Jesus and God, but used them in his humor to make a point as well as point out hypocrisy), nor was he some political-agenda-type who was rooting for a particular political party (he hated both sides of politics), and these examples will be proven in some of my favorite routines of his which I have posted below. I should say that Hicks was a proponent of certain drugs (particularly mushrooms, marijuana, and LSD); and while I don't agree with every view of his on this, I still find his views on drugs funny, profound and sometimes true -- especially when it comes to Hicks' drug experience opening his mind to God's implementation of universal love. Second, I do have to warn that these clips contain heavy cussing ... so if anyone's offended by that, boy, did you pick the wrong article to read!

On Religion:



Hicks was not an atheist but he did not shy away from the hypocrisy that he saw in most of Christian fundamentalism. As he said in one of his routines, "God is love and there is nothing but love, being all-encompassing, has no opposite. You are completely forgiven on all things, there's nothing you've ever done that has ever swayed God's pure and unconditional love for you."

On War & Politics:

Hicks grew to dislike politics because he saw all of the hypocrisy and lying coming from each administration. He noticed the U.S. arming countries and then returning years later to bomb said country all because that country had "become too dangerous." Hicks was a patriot in every sense of the word because he questioned its practices and held up the U.S. to a higher standard. So, when that standard was not met or the country did things he found despicable and underhanded, he exposed them in his routine. It has been attributed to former President Thomas Jefferson that "Dissent is the highest form of patriotism." Actually, that phrase was coined by then-New York City Mayor John Lindsay in 1969. However, the phrase does correlate with President Teddy Roosevelt's quote: "To announce that there must be no criticism of the President, or that we are to stand by the President, right or wrong, is not only unpatriotic and servile, but is morally treasonable to the American public." And that was what Bill Hicks was doing! He was pointing out wrongs that he felt needed to be pointed out and made right.

On Pornography: 

  

  

On Music:

Hicks was such a lover of music -- being a musician himself (he played the guitar and had a band MarbleHead Johnson, and then Lo-Fi Troubador) -- that he treated any mundane music, which so happened to be pop music of his day (MC Hammer, Vanilla Ice, New Kids on the Block, Debbie Gibson, Rick Astley, etc.), with no respect. His favorite musicians included Jimi Hendrix, KISS, Elvis Presley, B.B. King, The Beatles, and Bob Dylan. And musicians Hicks inspired ended up dedicating albums to him: Radiohead, Tool, Super Furry Animals, The Bluetones, Pitchshifter, and Rage Against the Machine.

On Drugs:

On the JFK Assassination:

After hearing Hicks' thoughts on President John F. Kennedy's assassination, some might try to label him as that blockheaded "c" word. But Hicks was just using common sense ... oh ... and science, like, I don't know ... physics! What's also impressive is that Hicks was trying to stir people out of their apathy and ignorance. He wanted people to investigate, explore and question things that were/are passed for "truth" and yet still don't make any sense whatsoever.

On Media:

Hicks knew that most popular television as well as advertising was evil and an expressway to "dumbing down" the population. He often played out in his routine that any time people would start becoming suspicious of the goings-on in this country, some stupid entertainment like American Gladiators (I think today he would replace that with reality shows and competition shows like American Idol) would become a convenient distraction. And for anyone who thinks this thinking comes just from Hicks and is untrue, then take a look at the box office family hit The LEGO Movie again! That entire movie has points with which Hicks would most likely find amusing and relatable.

What makes Bill Hicks so relevant in today's times is how insanely inept government and legislators have become -- or, should I say, continue to grow. Hicks said it best when he said this in an interview:

Not only do I miss Hicks today because he could have contributed so much to this world, but I also miss him because I would have LOVED to have heard what he had to say about Bush Jr. and his administration, the second Iraq War, 9/11, Osama bin Laden, President Barack Obama, drone strikes, government shutdown, Benghazi, gay marriage inequality, welfare, food stamps, Mitt Romney, minimum wage, cable news channels (and their talking heads), gun  control, school shootings, and all of the rest of our zaniness. He taught independent thought and universal love which often came out as these maddening rants ...but as he would often say: "I gotta share this with you because I love you and you feel that." 

Hicks believed in freedom above all else:

To say Bill Hicks was ahead of his time is an extreme understatement! Even if you strongly disagree with him or think him completely rude, Hicks still believed in his right to express his ideas and did so unabashedly. He is an inspiration to those who fight the seeming majority and are quite blissfully ignorant of what is going on behind the curtains of our government as well as in our society.

But here's what I love best of all about Bill Hicks ... and why he's one of my favorite people. He told insightful, philosophical truth while making it funny ... and he made no allusions about the impact of the injustice, lies, and manipulation he witnessed. He was courageous -- even in the face of those who were quick to dismiss him and make him think that what he said didn't matter. Of course it mattered! It still matters today! Bill is Howard Beale (portrayed by Peter Finch) from the 1976 film Network; he's "as mad as hell and ... not going to take it anymore!"  Hicks is that voice who tells you to point out something when you know it's wrong. He was courageous ... a rebel ... passionate ... a free-thinker ... a humanitarian (even though he sometimes raged against some of humanity's ways) ... and he infused -- and still infuses -- those who listen to him with those same qualities. He's the voice in our heads telling us that what we do matters and not to give in to someone or some issue simply because it's what another group -- whether political, religious, or social -- tells you to accept.

Like I said before, Hicks believed in freedom ... but freedom for everyone -- not just one country or a particular group of countries. And he didn't associate or equate freedom with symbols -- as referenced here:

There is a famous routine of his in which he deeply believed (and I believe it as well). And it has become a highly-shared video clip and meme over the internet -- especially in the past few years. When ending his Revelations show at the Dominion Theatre in London, England, in 1993, Hicks spoke about his understanding of life and how we could make it better:

Here is the written text:

There is a reason why this video is one of the most viewed and shared videos in today's society: people are tired of fighting; people are tired of bullshit; people are tired of politicians who don't give a shit about them; people are tired of laws getting passed simply because of money; and there is a small population which is steadily growing that is tired of self-righteous indignation from others and having those self-righteous individuals force their beliefs and rules on them just because the small population doesn't believe in what the self-righteous believe. Instead, people want inspiration; people want truth; people want love; people want understanding and compassion; people want to treat each other better and not be oppressed by what someone tells them they should fear. 

President Kennedy once said (doesn't matter what you thought of him as president or man; just truly listen to these words):

And that IS Bill Hicks' mission statement! He lived and breathed that statement! He believed that, deep down, we are all human and all are loved in God's eyes. 

Today, I raise a glass to not just one of the best stand-up comics who paved the way for many future comedians, but also to one of the best people who used his time here to make the world better and give us a better understanding into this life. Even though the world needs Bill Hicks now more than ever, he's still left us with much to ponder and appreciate through his recordings. Thank you, Mr. Hicks. 

In Memoriam: William Melvin "Bill" Hicks
1961-1994

Jay Reviews Hayao Miyazaki's "The Wind Rises"

Jiro Horikoshi is a name that most Americans have never heard. I wouldn't feel bad if you haven't heard of him, I had no idea who he was either. I do, though, know a little bit about World War II history. In the early years of the war the Japanese were able to dominate the air through the use of the revolutionary Mitsubishi A6M "Zero" fighter. Its great speed and agility made it an infamous plane, with superior dogfighting capabilities, and used with terrible results in the Japanese "kamikaze" suicide attacks. Horikoshi designed the "Zero", among other airplanes of the era, and his contributions to aviation have mostly gone uncelebrated outside of Japan.

Master Japanese filmmaker, Hayao Miyazaki, director of classics like Princess Mononoke, Spirited Away and My Neighbor Tortoro,  has chosen for his latest and supposedly final feature film, to tell the world about Jiro Horikoshi's life. The end result is nothing less than what we've come to expect from one of the greatest animators of all time. The Wind Rises feels completely different from his previous movies, though it does contain many familiar stylistic touches. Being essentially a bio-pic, it departs from the fantastical fairy tales of Miyazaki's earlier work, and grounds itself more in reality which is usually not found in his movies.

The film opens on Jiro (voiced by Joseph Gordon-Levitt) as a child, dreaming what will be the first of several dreams he'll have about becoming a great aviation engineer. In all of the dream sequences he meets his hero, Italian aeronautical innovator, Capaldi (Stanley Tucci), who inspires Jiro to pursue his goals of going to school and designing aircraft. It is in these segments of the movie where we see the abstract flourishes we've come to recognize in Miyazaki's pictures come to life. Capaldi, himself, is a larger-than-life character. The planes he creates in Jiro's unconscious mind are extravagant and over-the-top, but they serve to inspire the young boy to continue down the path he has set for himself.



A young Jiro has dreams where his idol, Capaldi, a pioneer in Italian aviation, comes to him and encourages him to pursue his goals of being a great aeronautical engineer.

 To the skeptic I want to say that this isn't simply a story about one man's quest to build the perfect fighter plane, it is also a love story. On his way to university, Jiro is caught in the epic destruction of the Great Kanto Earthquake of 1923. Here he helps a young girl, Nahoko (Emily Blunt) and her older sister get to safety during the chaos that surrounds the aftermath of the quake. Years later he will run into her again and they fall in love. Unfortunately, she is stricken with tuberculosis, and the scenes between her and Jiro contain most of the emotional depth of The Wind Rises.

There is one particular scene involving Jiro's wooing of Nahoko that is so well done. He fashions a paper airplane and tries to throw it up onto her balcony. Once he succeeds the two of them take turns throwing the plane back and forth. It is a perfect example of Miyazaki's effortless ability to express simple emotions in animation with very little dialogue.

Jiro tries to shoot his paper airplane onto Nahoko's balcony.

The subject of World War II is never really fully brought up. Jiro simply wants to build a plane that the world has never seen before. He understands that this invention of his will be used for the mass killings of thousands of people but he chooses to press on. In one key scene where he is dreaming of Capaldi again, his imaginary mentor asks him, "Would you rather live in a world without the Pyramids?" Meaning, if you have the chance to create something that would be so brilliant and remembered forever, but would cause death and misery to many, would you rather live in world without that thing you created? It is an interesting moral question, and is one that Miyazaki appears to be quite interested in.

Jiro looks down at the destroyed result of his creation.

This depiction of the life of Jiro Horikoshi is, to be honest, very loose with the facts. In fact, the director used a short story by famous Japanese writer, Tatsuo Hori, called Kaze Tachino (The Wind Has Risen) to draw much of his inspiration. This story, and others by Hori, takes place in a sanatorium for tuberculosis patients in  the mountains of Nagano Prefecture. Miyazaki melds the tragic story of Nahoko, which I believe mostly comes from this short story, with Jiro's real life story to create an epic historic drama, the like of which has never been seen in animation.

The Wind Rises, if it is Miyazaki's last film as he has said, is the perfect bookend to an extraordinary career. At once it feels both familiar and brand new to a fan like myself who has seen most of his pictures. It is as if he wanted to make an epic biography of this man that was both realistic and also somewhat abstract at times. For example, many of the sound effects like the airplane propellers and engine noises were made by human voices. It gives the film the slight fairy tale feeling that Miyazaki's other movies are full of, but this one eschews mostly.

There are some very serious themes being presented in The Wind Rises. Love, death, grief, ambition, guilt, and friendship all resonate quite strongly. It really straddles the line of actually being a children's movie. In fact, I wouldn't be surprised that many kids may not like it, due to the length and more adult subject matter. But, despite this, Miyazaki doesn't abandon the childlike sensibility that is his trademark.

Like many of his previous films, I loved The Wind Rises. Very few filmmakers have the ability to transport you to a world, or a time or place that feels wholly original like Hayao Miyazaki. I am sad that this will be his final movie, but it looks like his son, Goro Miyazaki (From Up on Poppy Hill, Tales From Earthsea) and other talented people at Studio Ghibli will be continuing on his legacy by making more animated features. At least we have this one last masterpiece to cherish, and a collection of work that will be celebrated for years to come.

Why the World Needs Comic Books

Comic books have been around since the late 1930s with most famous examples being the comic strips found in newspapers. In June 1938, publisher Detective Comics -- which would go on to be named National Comics and, now, DC Comics -- released its first issue of Action Comics for ten cents ($.10). And gracing that cover would be the superhero to end -- or rather lead -- all superheroes: Superman. 

Jewish creators writer Jerry Siegel and artist Joe Shuster first envisioned Superman as a villain, bent on world domination; this was mostly because the character was inspired by German philosopher Friedrich Nietzsche's Ubermensch concept. However, Siegel re-envisioned Superman as a hero and he was soon designed after pop icons of Siegel's and Shuster's day: actor Douglas Fairbanks Sr. inspired the look of Superman, while the look of Clark Kent (named after movie stars Clark Gable and Kent Taylor) was inspired by silent film actor Harold Lloyd and Shuster himself. As for Superman's story, that would take inspiration from a very biblical place. The story of a little baby being jettisoned away from his home land and sent to a strange place is no stranger to our history. Superman -- or Kal-El as is his birth name -- was placed by his parents in a small spaceship as a baby and rocketed to earth so that he may be saved the doomed fate of his birth planet Krypton. This closely resembles the origin of Moses -- that's right, the Ten Commandments Moses. Moses was born at a time when an Egyptian Pharaoh, out of fear that males might grow up to help the Children of Israel bring his defeat, ordered that all male babies be killed by being drowned in the Nile River. Moses' mother Jochebed hid her son but soon decided that in order to truly save his life, he would need to be somewhere else. So she placed Moses on a small boat/craft and floated him down the Nile River. Moses was found by the Pharaoh's daughter and raised as her son.

But it's not just biblical origins that touch comics. Greek mythology has paved the way for the superheroes we currently know and love. Hercules was inspiration for Superman, while Wonder Woman, born from Hippolyta, received her powers as such: the beauty of Aphrodite, strength from Demeter, wisdom from Athena, speed and flight from Hermes, eyes of the hunter and unity with the beasts from Artemis, and sisterhood with fire and the ability to discern the truth from Hestia. 

Superman's journey was not to become king -- or god -- of the land, but rather to help mankind with his special superpowers that the earth's yellow sun gave him (yes, Superman is solar-powered). While there have been many iterations in different pop culture of why Superman was sent to earth, the one that sticks has been played out many times and is best captured by Superman's father Jor-El in this trailer (it seems as if the words could have been spoken from God to his son Jesus):

"Even though you've been raised as a human, you are not one of them. They can be a great people, Kal-El. They wish to be. They only lack the light to show the way. For this reason, above all, their capacity for good, I have sent them you, my only son."

After Superman's introduction to the world, fans everywhere craved more. Thus, Batman was born -- as a counterpart to Superman -- in May 1939. Unlike the superpowers of Superman, Batman is human and all of his powers are self-obtained through physical training and education, as well as the hundreds of special gadgets he owns. Batman, who is billionaire Bruce Wayne, was born out of the cold-blooded murder of Bruce's parents right in front of him when he was a little boy. His need for justice and vengeance made him become a crime-fighting vigilante. This may shock contemporary fans, but, in the early days of his comic, Batman was even prone to use a gun! This was soon written out because of Bruce's aversion to guns as a result of his parents' murder weapon being a gun (this would inspire other writers to create famous pop characters who do not use guns and hate the use of them, such as Buffy Summers and The Doctor). 

Soon after Batman's introduction, a new publisher named Timely Comics entered the fray, with its anti-hero Namor the Sub-Mariner and many others. Timely was soon renamed Marvel Comics, and when founder Martin Goodman hired his wife's cousin, Stan Lieber, in 1939 to be a general office assistant, little did Goodman know it, but he would be starting a new revolution in the comic business. Lieber would eventually come to be known as Stan Lee, who is responsible for the creation of every major Marvel character popular today: Spider-Man, Daredevil, Thor, The Hulk, the X-Men, Captain Marvel, Iron Man, Silver Surfer, and the Fantastic Four ... just to name a few.

I could go on and on about all of these characters' origins and how significant they are to the fans who read them, but, instead, I would like to delve into why these characters and their stories are so vital to our lives today and what we as a society can learn from them. What was first considered "kids stuff" has now developed an entirely new fan base -- with adults making up more of the readership. Why is that? Why are adults -- some of which are actors, singers, novel writers, comedians, philosophers, artists and even politicians -- reading these comics? I'm here to answer why comics are some of the most socially-relevant, important pieces of literature in today's society. 

This panel comes from the third volume of The Uncanny X-Men issue #1, in which Cyclops confronts The Avengers about how mutants (which the X-Men all are) are treated by regular humans.

When Stan Lee first created and published the X-Men (Angel, Beast, Cyclops, Iceman and Marvel Girl a.k.a. Jean Grey) in 1963, he admits that he had in mind the true-life inequality at that time of minority races and creeds. Lee had the revolutionary idea of taking a large group of people and giving them something that made them different from other humans. They would each have a different ability which could be used for good or bad, but would make them stand apart from "normal" society. Dubbed mutants, these special people would ultimately have a gift; even though their ability often sets the mutants apart from "normal" humanity, it still makes them special and unique. What once started as a metaphor for the racial divide in this country has now expanded to represent anyone who is treated differently for who they are -- from the racial minorities to the bullied to the gay and lesbian community to different religions. Of course, all of these types of people are not different -- they're human. We all have the same types of feelings, we all bleed, we all love, and we all die. And comics like the X-Men help society -- especially kids from a young age -- to see that. From the moment we start reading comics -- whether young or old -- they can help us to be more open-minded and understanding of each other. The topic of the exchange between Cyclops and Captain America above could perfectly be representative of any contemporary hot topic, whether its prejudice against race, sexuality, religion, or simply for being seen as "goofy," "stupid," "dorky" or "weird." Cyclops, who has usually stood for good, is at a breaking point and he lays out all of his frustrations to The Avengers. However, the uniqueness of the mutants and of human differences is not to be hidden. It is to be shared with humanity. After all, it is often the rebels, the risk-takers, the ones who are "different" who make a lasting imprint upon this earth. 

Comics give its readers a visual peek into the best and worst of humanity -- even if characters are non-human. There are good guys and bad guys, but comics also address the "gray areas" -- those situations with which a person or an act isn't always what it seems. Anti-heroes such as Batman, Sub-Mariner (Namor), The Punisher, Catwoman, The Shadow, Spawn, Wolverine, John Constantine, Jesse "Preacher" Custer, Michonne, and "V" (from V for Vendetta) are characters who know that the world and its people are morally ambiguous and not every issue is simply black or white -- and they act accordingly. 

Since the introduction of the X-Men, other comic characters have helped the abused, bullied and abandoned feel like they had a place with which to turn when the real world was cruel. Comic book artist Dean Trippe needed a way to convey his feelings about being molested as a child. He ended up drawing the short comic called Something Terrible. In this autobiographical comic, Trippe shows with minimal dialogue how he was molested as a kid, and considered suicide, until he watched the 1989 Tim Burton movie adaptation of Batman. Then, he decided to become a comic book artist and it was the many characters (featured in his epic drawing) who helped him escape his pain and open him to the possibilities of living a life undiminished by what was done to him. Trippe also wanted to prove that not all children who are sexually molested become offenders themselves.

To read the entire panel, click here!

Here is a bigger pic of the epic character panel:

How many comic characters can you pick out? Even other famous characters such as Doctor Who, the Ghostbusters, Robocop, Speed Racer, Obi-Wan Kenobi and others have been adapted into the comic book format.



This comic proves that it's not simply the superpowers which give all of these heroes their importance and meaning; it's what they represent. Hope, loyalty, courage, doing what's right when everything goes wrong, being honest even if it can get you in trouble, and helping others. In a time when it's so easy to go the easy route and not care about others or do what's wrong to make more money or get out of trouble, these characters keep our morals in check. They remind us that doing the right thing is not always the most popular or easiest choice ... but it is what's right.

At times when people are divided over partisan politics, hot button issues and one group of people thinking they're way is the right way, it is important now more than ever to look to these characters written with carefully mindful tolerance and understanding. Most of the comic page's famous characters take the time to actually see both sides of a story. Especially Superman. That is why I find him the most interesting and inspirational. The most given excuse or reason I get from people who don't care too much for Superman is that he has so many powers, he has it too easy. However, I would say they're wrong. There is a certain character -- who is a fan favorite of many -- who does fall into the category of "having it too easy": Wolverine. The guy hardly ages, has a metal skeleton, iron claws, and heals from anything. The guy has survived everything thrown at him. Superman at least has Kryptonite to kill him. Wolverine has nothing really -- except, maybe, decapitation. And while Wolverine is still somewhat human, because of his human genes, he can have a connection to people if he chooses. Superman, on the other hand, is a true alien. If he ever even slightly uses his powers the wrong way, he is blamed by a good majority of the human race. There is no one else like him -- until Supergirl and Superboy came along -- not even thousands of other mutants. Kal-El (Superman) knows that he can never have children with the woman he loves, and he can never truly fully be himself without the fear of losing control or putting those he cares about in danger. Mostly, what separates Superman from Wolverine is that whereas Wolverine has a "screw 'em" mentality to anyone who disagrees and often gives in to his anger, Superman -- who gets just as angry (when his eyes go red, watch out!) -- can think out a situation and do what is truly best depending on the situation; Superman also is responsible when it comes to having to bury his anger and temptations for revenge. And if there's anything I've learned, there is a time to fight (albeit rarely), but there are also times -- more often than fighting -- when it's better to walk away. It sounds like a lame, cowardly way of thinking, but it is anything but that.

This leads to the supposed uproar in comic news when DC Comics decided to take out the last part of Superman's motto. You know? He fights for "truth, justice and the American way?"

Well, DC Comics decided to take out the "American Way" portion. A particular group of people hated DC's decision and thought Superman would turn into a "communist," a "socialist," or simply a "traitor." But ... if those critics had read the issue in which Superman renounces his U.S. citizenship, maybe they would have understood his reasoning for doing so:

In Action Comics #900, Superman renounces his U.S. citizenship.



Superman, sick of the way Iranian leaders are treating their people, flies to Iran and stands -- without fighting or talking -- between soldiers and protestors for 24 hours straight. Because of Superman's association with America, the Iranians look at it as unwanted American involvement and see his act as an "act of war" from the President of the United States. Superman decided to disassociate himself from America because he was the one who made the call to intervene against Iran -- not America. Superman also realizes that his mission of doing what is right is not simply an "American way," it's a humane way. He serves all the innocent people, all of humanity ... no matter what nationality. This is proven in the final panels:

Sure. It's a bold piece of writing and -- what some might say -- seemingly unrealistic. But it proves that Superman believes in every human life, not just ones who are born in America. And let's not forget that in Action Comics #1 from 1938, Superman not only captures and beats up a rapist, but also rescues Lois from a firing squad, frees foreign captives of a war who are being tortured, and goes after a U.S. lobbyist promoting war to a U.S. senator. Superman finds out which company the lobbyist works for (who turns out to be a U.S. munitions manufacturer magnate), and forces the magnate to enlist in the army and be sent to the very war that his company is manufacturing weapons for. When the magnate actually has to be in the war, on the front lines, he shouts to Superman, "This is no place for a sane man -- I'll die!" Superman quickly retorts, "I see! When it's your OWN life at stake, your viewpoint changes!" The magnate begs Superman to be returned to the U.S., and Superman agrees -- but only if the magnate promises to quit manufacturing munitions. The magnate agrees and is free to go (reference).

Fortunately, it's not just Superman who's breaking barriers. Marvel Comics' X-Men further stepped into the 21st century and addressed a hot topic social issue by introducing the first openly gay character in comics -- Northstar -- and his boyfriend Ken, and having them married on the cover of Astonishing X-Men issue #51.



At DC Comics, Batwoman was revealed to be a lesbian -- even though DC Comics has come under some flak because the company had decided to not follow through with Batwoman/Kate Kane's marriage to Gotham City detective Maggie Sawyer.

Nevertheless, DC also revealed in its Earth 2 that the Green Lantern Alan Scott is gay.

While some may not like or enjoy these storylines, it is a true testament that the comic writers are writing for a broad range of different people in today's culture. However, this concept in comics is neither so contemporary or so strange. When DC Comics' Green Lantern and Green Arrow teamed up in the 1970's, there was a controversial cover that tackled drug addiction. It was when Green Arrow found out that his sidekick, Roy Harper a.k.a. Speedy, was shooting up heroin:

There are other times when some events are so monumental that the comic industry cannot help but address it. When World War II (WWII) broke out and finally touched America on December 7, 1941, both DC Comics and Marvel Comics were there to help keep up morale for the troops overseas who had dreams of fighting and defeating Nazi dictator Adolf Hitler themselves, as well as helping soldiers believe what everyone already believed -- that the soldiers themselves were the heroes.

Another tragic real-world event -- something no mighty superhero could prevent -- would impel superheroes and their creators to step up and help in any way to alleviate a worldwide heartache.

Marvel's universe was especially affected due in large part that nearly all of its superheroes reside in New York City (whereas DC's characters are in fictional representations like Gotham City, Metropolis, etc.).

In 2004, DC Comics shook up the Justice League of America (JLA) with a morality crisis in its seven-issue run of the "Identity Crisis" storyline. In the story, Sue Debny, the wife of the Elongated Man, is killed.



SPOILER ALERT: When the JLA discovers it is villain Dr. Light who killed her and previously raped her, they vote on erasing the memories of Light and other villains who have discovered the secret identities of Superman, Batman and the rest of the JLA. The only person who disagrees with the mind-wipe is Batman. In the end, it is discovered that Atom's (Ray Palmer's) estranged wife Jean Loring killed Sue -- however, by accident -- and the mind-wipe of Light was uncalled for and unjustified. END SPOILER: The story showcases how far heroes are sometimes willing to go to protect loved ones from danger ... but at what cost? The heroes cross a line that becomes a big question of whether it should be crossed in the first place or not. Sure, Dr. Light is a despicable villain, but should his mind be entirely wiped clean? Most of the JLA seem to think so, but their decision will haunt them from this point on -- and it causes a rift with Batman, whom will go on to monitor them all in future issues.

Some of the stories featured in comic books became some of the most metaphorically deep storylines which would eventually go on to be used in contemporary TV series and films. One such story was the "This Man ... This Monster" story featured in Fantastic Four #51.

 In the story, Ben Grimm -- The Thing -- is transformed into a normal human again while someone else poses as Thing to try and kill Reed Richards (Mr. Fantastic). The sub-plot is that Grimm gets to feel normal again and propose to his longtime girlfriend, Alicia Masters. However, Grimm gets to her door and is about to knock when he is abruptly transformed back (after the imposter Thing sacrifices himself to save Richards) to Thing, making him back out of the proposal. The story is intriguing and heartbreaking all at once. It teaches of humanity and selflessness. It's these kinds of storylines (such as Grimm's not feeling "good-looking" or normal enough) that appeal to readers everywhere.

As previously mentioned, Superman's origin involves being an orphan, immigrant, and feeling alienated, which caused many readers from other countries -- as well as orphans and those who feel alone -- to relate to the superpowered alien. Those who were not born in America but dream of becoming citizens often hold Superman in high esteem (one such admirer is KISS frontman Gene Simmons, who was born in Israel and emigrated to New York City when he was 8-years-old).

In Spider-Man's origin, Peter Parker -- after having received his superpowers -- purposely ignores a thief fleeing the scene of a crime. Later, that same thief shoots and kills Peter's father figure, Uncle Ben. Amid his guilt of inadvertently causing his uncle's death, Peter learns the hard way that there is a responsibility that comes with not only having powers but also with being a good person.

"At school, even in kindergarten, [adults] teach [children] to behave in the world. [Adults] teach [children] not to fight with others, to work things out, to respect others, to clean up our mess, not to hurt other creatures, to share and not be greedy. Then why do you go out and do the things you tell us not to do? You are deciding what kind of world we will grow up in. Parents should be able to comfort their children by saying 'everything's going to be alright,' 'we're doing the best we can,' and 'it's not the end of the world.' But I don't think you can say that to us anymore. Are we even on your list of priorities? My father always says, 'You are what you do, not what you say.'" This quote was taken from then-12-year-old Severn Cullis-Suzuki when she spoke to the United Nations Earth Summit in 1992. Superheroes in comics teach and provide those same lessons. But in an age when wars are waged for the wrong reason and/or under false pretenses, people are insulted and/or harassed for their beliefs, personal freedoms are taken away with the signing of an act, and the less fortunate and less wealthy are treated with suspicion, disrespect and inhumanity, one has to wonder where all of the morals, kindness, respect, tolerance and compassion that is pounded into our heads as children by not only those around us (parents, relatives, friends, teachers, etc.) but also the heroes of literature, television, movies, and music, are today. Someone was so gracious and compassionate to the less fortunate that he once said, "Go, sell everything you have and give to the poor, and you will have treasure in heaven. ... It is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God." That was Jesus (Mark 10:21-25). And not only did he preach -- and live -- that way, but he also healed the sick, hung out with sinners and miscreants, and invited the poor to dine with him.

We are raised to have compassion, understanding, patience, kindness, respect, courage, and critical thinking when we are young; and, yet, when we grow up, and if we still cling to these concepts, we are blasted by those who are in opposition when we show these traits, with words such as "naive," "misinformed," "communist," "socialist," "confused," "wrong," "pinhead," "hippie," "fanatic," "freeloader," "idiot," "lazy," "stupid," and "unpatriotic" -- just to name a few. Unfortunately, these vocal name-calling opponents are the ones who are abundantly heard, thanks to "news" and social media graciously being a platform for such talking heads. When it comes to these such people, luckily, comics also can also teach us how to deal with them too. In the first panel below, Superman's enemy, Lex Luthor, may speak with an extreme hatred but his thinking is not far from those who spout hatred and separation on TV, radio, social media and in books. Here is a sample of Lex Luthor's hatred for Superman, with whom Lex hates because Superman is an alien:

Lex Luthor (who, in the DC Comic universe, even becomes President of the United States) may be a bit extreme of a metaphor, but it nonetheless is appropriate for the obsession with certain groups and types of people in this world -- on any issue from any side of the spectrum -- who think the world should think and live the way they do. But, those people, like Luthor, miss the point. Others may say that these talking heads are simply "putting on an act." But if they are feeding into that act and putting out negativity for profit, then they are no better and no different than the people who really feel those negative feelings and think those thoughts. In the end, comics and its denizens teach us an important lesson in trying to change people through intimidation, name-calling and bullying. 

It's not just Superman we can learn from. In the pages of Spider-Man comes the famous quote: "With great power comes great responsibility." In Gotham City, as easy as it would be for Batman/Bruce Wayne to kill the Joker so he could save a countless amount of lives in a future that didn't have Joker, Batman refuses to do so because it goes against his morality of not killing people. In the 1987 graphic novel Watchmen -- written by the recluse comic book genius Alan Moore and the only graphic novel/comic to be featured on Time magazine's "All-Time 100 Greatest Novels" list -- the central characters are all former superheroes who are either retired or working for the U.S. government. Each of their lives are by no means perfect and each has their own personal struggle to overcome against the backdrop of one of their own -- now a government mercenary -- being murdered and trying to solve why he was murdered and who is responsible.

SPOILER ALERT: When the heroes find out it is one of their own -- Ozymandias -- who is responsible for the murder, and that he is unleashing a giant squid in Manhattan (in the movie version, he plans on detonating multiple nuclear bombs in major cities) to unite the world in peace, Nite Owl, Dr. Manhattan, and Silk Spectre all agree to stay silent of Ozymandias' guilt and plan so that the world would unite with -- and support -- the U.S. (which was previously in danger of war with Russia). The only hero not willing to compromise is Rorschach (think of a mix between Batman and The Punisher), who is less utilitarian and believes that the sacrificing of one life for the safety of millions is not justified; every life counts. Rorschach plans on exposing Ozymandias' scheme and thus putting the new world peace in peril. When confronted with his imminent death at the hands of Dr. Manhattan, Rorschach rhetorically asks, "What's one more body amongst foundations?"



Comics provide just as much philosophy, imagination, metaphor, relatability, and entertainment as regular literary novels. But what's more is that comics not only have great stories and great writing -- they also have some of the best artwork seen. From older comics ...

This one is a personal favorite -- and a great issue ("Who is Scorpio?") -- from 1968: Nick Fury, Agent of S.H.I.E.L.D., drawn and written by Jim Steranko, who drew some revolutionary images and layouts for the comic industry in the late '60s.

... to the inbetween ones ...

Frank Miller's 1986 cover to his introduction to the darker Batman in The Dark Knight Returns.

... to the newer ones.

Alex Ross (who paints the most realistic versions of comic book characters) submitted this masterpiece for Uncanny X-Men #500 in September 2008.

The beauty of comics today is that no matter what you as a reader are into, there's a comic for it. Do you like superheroes? Of course they're there. Like super-heroines? They're there.

My youngest daughter is named after Supergirl's (and the contemporary Starbuck's from Battlestar Galactica) birth name: Kara.

Do you like comics that are not about superpowers? They're there! 

Do you want comics based on classic novels? They're there!

Do you want comics either based on -- or adapted into -- your favorite TV shows? They're there!

There's every kind you could think of. Even though they may not be mainstream, it's out there and just needs a bit of searching to find.

And if there's ever any reason whatsoever that our world needs superheroes, it's because they provide a contemporary mythology for our times and our country, as well as providing imagination, hope, and inspiring people of all ages with courage and compassion.

 

Thanks to the Make-A-Wish Foundation, San Francisco transformed into Gotham City for a day to make 5-year-old Miles Scott's dream come true. Scott, who has leukemia, donned the Batman costume -- calling himself Batkid -- and set off throughout the city to save lives and fight bad guys.

The late Karl Nawskon often wore his Superman shirt when going through chemotherapy treatments.

These window washers dress up as superheroes when going out to wash the windows of patients at a children's hospital.

"You will give the people of Earth an ideal to strive towards. They will race behind you; they will stumble, they will fall. But, in time, they will join you in the sun. In time, you will help them accomplish wonders."

In the end, comics have grown to paramount heights since their introduction in the late 1930s. They're not just "funny pages" or "kids stuff" anymore. Comics are an artistic -- in every sense of the word -- way to convey a society's national conscience while also holding up moral questions that should be asked in any day and age. They make us feel, learn and have a better understanding for those who are different from us. And in a world where one-sided thinking seems to rule -- or, at least, dominate -- our social and mass media, leaving millions to be bombarded with such narrow views, that's a welcome sight for anyone hoping to live in a better, more understanding, symbiotic world.