As far as the world of comics goes, Stan Lee was probably the most important person to have ever lived. Born to a Romanian-Jewish family in New York in 1922, young Stanley Lieber became involved in the world of comics early. An office boy in the 1930s, by the end of a frustrating 1950s, Lee came close to quitting the world of comics forever until his Newcastle-born British wife suggested he create a new crop of comic superheroes to challenge the near monopoly then enjoyed by Superman and Batman creators, D.C. In a remarkably short space of time, Lee created Spider-Man, The Fantastic Four, Iron Man, The X-Men and The Avengers essentially establishing Marvel as the incredibly profitable global media powerhouse that it remains to this day. Happy ever after? Well, no. Partly because, as Adrian Mackinder explains, the extent to which Lee can really claim complete credit for creating all these amazing characters remains hotly disputed. This is not a hagiography and while Lee was careful to cultivate a loveable avuncular image amongst Marvel’s armies of ‘True Believers,’ Mackinder, though clearly a big fan himself, does not shy away from exploring the less desirable elements of Lee’s character.
In short, Mackinder not only does a commendable job of detailing the highs, lows, creative explosions, fallings out and film cameos which made up Lee’s almost 96 years on Earth but also does a commendable job of explaining the cultural context in which they occurred. In addition to Lee’s life, we also learn a lot not only about the history of Marvel comics, but also get much on how vaudeville declined in the teeth of competition from radio and cinema in the 1920s and 1930s and much of interest about ALL comic adaptations on TV and film over the decades, not just the Marvel ones. It is easy to forget, despite the renaissance in comic book based films in the 21st century,, just how many flops there also were (Daredevil, Elektra, Ghost Rider, to name but a few). I must admit: I have sometimes written about the history of comics myself. But ultimately, I must put aside any feelings of professional jealousy and concede: Adrian Mackinder really has done an exceptional job here. Nuff said.
Book review: Stan Lee – How Marvel Changed The World, by Adrian Mackinder. Published by: Pen & Sword, White Owl.
Chances are, if you like any comic at all, the last few years will have seen one of your favourites be made into some sort of film, with adaptations ranging from both the biggest to even the most obscure comics and graphic novels. Some, such as 2000AD’s most famous story, Judge Dredd, have been filmed more than once.
But which other stories from the Galaxy’s Greatest Comic are ripe for a big screen outing?
Sam Slade: Robohunter
The pitch: Like Blade Runner. Except funny.
Like Blade Runner, John “Judge Dredd” Wagner’s Robohunter took its inspiration from Philip K. Dick’s novella Do Androids Dream of Electric Sheep? It was always much more fun than Ridley Scott’s film though (which it predates). Sam’s colleagues included Kidd, an obnoxious man trapped in a baby’s body and the idiotic android, Hoagy. His first mission saw him trying (and failing) to bring order to the colony Verdus where a full-blown robot revolution had occurred.
The pitch: Blue movie.
Thanks to Avatar, The Watchmen and The Smurfs, cinema’s latest “blue” period may have peaked a few years ago. But the blue genetically engineered warrior Rogue, trapped in an eternal war on the desolate Nu Earth is the only 2000AD character other than Dredd to have ever got his own annual and could work well on screen.
The pitch: The Hunger Games for grown-ups.
Not to be confused with Children’s ITV’s Button Moon (note: nobody has ever done this), this was a rare non-sci-fi outing for the comic. The premise – hired killers are paid by rich clients or “Voices” to hunt each other and fight to the death for sport – is so cinematic that it’s surprising it hasn’t been filmed already. In fact, Dreamworks bought the rights some years ago. But, as yet, there is no film.
The Ballad of Halo Jones
The pitch: The girl from tomorrow.
Before he became the beardy comics legend behind The Watchman and The League of Extraordinary Gentlemen, Alan Moore wrote a lot for 2000AD, notably this unusual female-centric strip which saw its heroine progress from life in the claustrophobic 40th century metropolis The Hoop, to a job on a luxury space cruise liner to ultimately fighting a future war on the time-distorting planet Moab.
Nemesis the Warlock
The pitch: Alien insurrection.
Nemesis is the alien leader of Credo, a resistance movement fighting the neo-fascist forces of the malevolent, futuristic masked megalomaniac Torquemada. With catchphrases like “Be pure, be vigilant, behave!” the villainous Torq is the real star of the strip. It’s a nice twist having humanity as the villain, although in general, Pat Mills’ story is probably a bit too weird to make into a film.
The pitch: The Celtic Conan.
Pat Mills’ Slaine, the musclebound warrior of the Land of the Young, Tir Nan Og, may be steeped in Celtic mythology, but it did start around the same time as the first Conan films. Despite unique twists (the whole thing is related by Slaine’s morally questionable dwarf sidekick Ukko and Slaine himself is also prone to warp spasms – don’t ask), a Slaine film might struggle to escape from such unfair comparisons.
The pitch: Surfs up!
A spin-off from Judge Dredd, Chopper – real name: Marlon Shakespeare -first appeared as a teenage graffiti artist not unlike a Mega City One version of Banksy, in the early Eighties before transforming into a world champion in the illegal sport of sky surfing. This could actually be brilliant, although risks comparison with the Silver Surfer (already brought to screen in the terrible Fantastic Four sequel). And as any Eric Bana fan will tell you: there is already a film called Chopper.
The ABC Warriors
The pitch: They, Robot.
Robotic fighting unit and sometime allies of Nemesis the Warlock (see above), the two most famous Atomic Bacterial Chemical Warriors – the wittily named Ro-Jaws and Hammerstein – first appeared in Ro-Busters, a sort of robot version of Thunderbirds, which appeared in 2000AD’s sister paper Star Lord, before merging into 2000AD in 1978. Oddly, Hammerstein has already been in a film, cropping up randomly in the first Judge Dredd movie.
The pitch: Alpha male.
In the future, a nuclear conflagration has left a sizeable minority of mutants, all forced – for some reason – to work as Search and Destroy agents (or “Strontium Dogs” basically bounty hunters) by the unsympathetic “norm” majority. The coolest of these is Johnny Alpha, accompanied by his Viking sidekick Wulf Sternhammer (“A skull to crack with the happy stick und Vulf is fine!”). Alpha’s mutation gives him white eyes but it also enables him to read minds and do all manner of cool stuff, so who’s complaining?
The pitch: She’s always in your mind.
Another Dredd spin-off but let’s face it, the psychic female Judge was the best thing about the recent Dredd film. She could also be pitched against Mega City One’s ultimate super-villain, Judge Death. Altogether now: the crime is life, the sentence is death!