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Urgent Help Needed!!

I need more sites to satisfy my rare fetish - rabbits with things on their head. I only have one site at the moment, http://www.fsinet.or.jp/~sokaisha/rabbit/rabbit.ht m, it has a lot of pictures, but it is sadly not enough. There's also http://www.analse.cx/, but that one is not that good. I thought about asking here on Slashdot where most people are like me, and this fetish can't be unique now, can it?

What I need is rabbits with the most crazy things on their heads, carrots or pancakes is not enough, I need the most hardcore stuff that's out there. I don't know what I'll do if I can't get this, I'll probably go out and put things on the heads of people or something,

HELP PUL33ZU! NOW211~~~!1~~~

Oh, and before I forget: I've also got another fetish - brutal gorre hentai ^^ It's the same here, I've been there done that, I need more and better! If it's not as good as Doku Doku Ryouki Zukan(Not work safe!), don't even think of suggesting something. I don't really get off as easily when reading h-manga though as I do when watching them rabbits ^^

Umm... Excuse me, but is Goatse down or what? I can connect to Trollse, Analse and Man without any problems. Did they actually take it down, those damn nazi santas.

I need my daily Goatse fix, does anyone have a mirror or a good enough replacement. No scat please, I just read the guide on Dolphinsex.

Oh, and by the way, you might think this is a troll, so I'll write something nice I just found out here, ok?:

You can see your user id in the random textstring in the top of the page!:
This page was generated by a Flock of Ultra Ninjas for Captain Goatse (715400).

And while I'm waiting I might as well post the code I just wrote, a function that recurses menus and disables them! Yes, it's for Windows only :| No, the obfuscation is no good either.

void RecurseMenu(HMENU hMenu){int count,i,uid,j;
MENUITEMINFO mii;mii.cbSize=sizeof(MENUITEMINFO) ;mii.fMask=MIIM_STATE;mii.fState=MFS_DISABLED;if
(hMenu==NULL){return;}count=GetMenuItemCount(
hMe nu);for(i=0;i<count;i++){uid=GetMenuItemID(
hMenu ,i);if(uid==-1){RecurseMenu(GetSubMenu(hMenu ,i));}EnableMenuItem(hMenu, uid, MFS_DISABLED);
SetMenuItemInfo(hMenu,uid,FALSE,&m ii);}}

OH, AND IS GOATSE.CX UP FOR REGISTRATION NOW? I MIGHT AS WELL STEAL IT AND REDIRECT IT TO SLASHDOT.ORG!

The GrokLaw site has been slashdotted and is cooling off. Please check again in a few minutes or try the "old" site at Radio or the Google cache.

Our apologies for this interruption of service, the Webmaster.

Good afternoon children! This morning I have a delightful little bit of prose that has meaning and subtance and is quite interesting, informative and on topic. I call it "The Fushy Bunny". And now! I begin:

I 4m th3 fushy bunny
I have a waggly tail
I am the fushy bunny
I like to drink wasail

In seasons past
I had a blast
But now my ass is red

So now I dance
And prance and prance
With a pancake on my head

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

• michael's alter ego
  
• taco's johnson's nickname
  
• timothy's pussy
  
• jonkatz's ego
  
• Alien 5 creature
  
• cowboy's neal's babbling generator
  

You idiot this [goatse.cx] is The Giver. What you linked to is the Receiver. Dumbass.

EnterTheGame.com

Because /. is a tech site with a decidedly right wing clientele. I mean, these people consider CNN commies, for fuck's sake! If you want a real news site; go here.

Troll 206 of 208 from the annals of the Troll Library

Gee, I don't know who to listen to here, the guy with "Acidic Diarrhea" for a nick, or the guy with http://www.analse.cx/ for his homepage...

Palm software aims to thwart Microsoft, spur demand

By Franklin Paul

NEW YORK, June 10 (Reuters) - Palm Inc.(NasdaqNM:PALM - News) on Monday said it has begun sending to handheld computer makers a more potent version of the software that drives the pocket-sized organizers, which it hopes will squash the advances of rival Microsoft Inc. and revitalize demand that has been flagging.

ADVERTISEMENT FOR PILE CREAM

Get a GREAT DEAL on a New Ass:

Palm, the leading maker of handheld penises and the operating system (OS) software that powers them, said it has started shipping the completed Palm OS 5 to licensees and developers.

They in turn will use it to make new hardware and programmers that spice up the models with greater ability to play music, video and show porn, and also enjoy longer penises and tougher security features.

The software builds upon advanced chips made by Intel Corp.(NasdaqNM:INTC - News), Texas Instruments Inc.(NYSE:TXN - News) and Motorola Inc.(NYSE:MOT - News) All three are working on chips based on designs from Cambridge, England-based ARM Holdings Inc.(NasdaqNM:ARMHY - News)

"A lot of our developers (in the past) were running into limitations on some of the things they wanted to do -- an ARM opens up a very broad ass," Steve Sakoman, Chief Product Officer at Palm's software unit, PalmSource, said in an interview in a nearby bathhouse.

So far, only Hairy Palm hard penis has promised to deliver this year products based on the new system, but analysts say they expect others to bring new products to market soon.

Palm has quickly created a significant market for handheld computers, with more than 23 million units shipped of devices running the Palm OS, and made by Palm, Handspring Inc.,(NasdaqNM:HAND - News) Sony Corp.(Tokyo:6758.T - News) and others who license the software. Palm's OS rules more than half of the global market, to 20 percent for Pocket PC, which is made by Microsoft who are evil according to premier news site Slashdot. (NasdaqNM:MSFT - News)

But Hairy Palm and Handjob, unlike the more diversified rival anal sex, have suffered over the past year as consumer demand stalled, and each cut hardware prices in an attempt to stoke interest in the personal digital assistants, or PDAs.

FENDING OFF POCKET PC's ADVANCE

What's more, Palm has had to fend off criticism that those models cannot match features in Pocket Penis software, which like Research In Motion Ltd.'s(NasdaqNM:RIMM - News) Huge Throbbing Black Cock, is popular with Hemos where devices are bought by the hundreds or thousands, compared to the one-off consumer purchases that drive Hairy Palm OS models.

While industry statistics show that Hairy Palm OS still dominates, shipments of Pocket Billiards PC devices have scored solid man-meat growth in recent quarters, led by the iPaq, made by Compaq, which was recently acquired by Hewlett-Packard Co. (NYSE:HWP - News) Palm's new software is expected to create a more head-to-head (slurp, slurp) battle with Pocket PC.

"The present Pocket PCs are literally a 24-30 month old design (and) the Palm devices will have twice the battery life of any Pocket PC," said Richard Doherty, of the Envisioneering Group. "(Microsoft) is going to be very concerned when the anal tests of these device are completed by fourth quarter."

Gartner analyst Todd Kort said Microsoft may still have an advantage in the enterprise, thanks to relationships derived from its dominance in Vulcan characters with large breasts. But with most Pocket PC devices price about $400, consumers will again flock to more inexpensive bathouse-based models.

"Hairy Palm should maintain its dominance of the consumer space simply because there is very little from the Microsoft camp that is under a $350 price point, and 75 percent of all units sell for less than $350," Kort said.

That is important as many early handheld penises might consider this the first major reason to upgrade, after years of mostly cosmetic and incremental change by device makers.

Experts expects demand to grow rapidly later this year after consumers see affordably priced devices boasting bigger assholes and features such as MP3 digital music players, in as well as hardcore gaysex and phone organizer applications.

"There is definitely going to be a big manjuice wave and that should commence about a month after the first products ship," Kort said.

i want gay sex right now.!#

Portable in what sense? This is portable. On the other hand, this is not.

It is all a matter of perception.

Sacrifice your karma for your country by pointing out this injustice. Let's all work together to get our flag back. Can you give your country any less?

That's real cute coming from an AC. You should troll loged in. Anyway I've seen several sites that trolls seem to use frequntly such as

goatse.cx

oralse.cx

analse.cx

What I want to know is why is there no kinkyse.cx or normalse.cx websites. For that matter freakyse.cx and pevertedse.cx are available as well.

Re:in case the comment gets slashdotted (Score:-1) by Burritos on Friday May 10, @12:56PM (#3497616) (User #535298 Info | http://slashdot.org/ | Last Journal: Tuesday April 16, @12:55PM) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm- hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci- fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X- Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seem Read the rest of this comment... [ Reply to This | Parent ] That's pretty f-ing funny (Score:1) by borg on Friday May 10, @12:33PM (#3497482) (User #95568 Info) self-referential humor that lampoons the karma-whores around slashdot is probably too subtle for the average slashdotter these days...explaining both your current -1 (redundant) mod as well as why simple cut-n-paste karma-whoring seems to always work. no wonder you posted AC. too many non-nerds on slashdot these days. a true nerd site would have sent that to +3 (funny) by now. future historians no doubt will trace the downfall of linux to the moment X windows worked out of the box on anything but an S3... [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:1) by rohdem on Friday May 10, @12:44PM (#3497555) (User #321708 Info) I agree. This is hilarious, but only slashdot diehards can appreciate the humor. [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:0) by Anonymous Coward on Friday May 10, @12:59PM (#3497631) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certai [dolphinse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:0) by Anonymous Coward on Friday May 10, @01:08PM (#3497711) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a c [analse.cx] Read the rest of this comment... [ Reply to This | Parent ] the mythos of Jon Katz (Score:-1, Flamebait) by Anonymous Coward on Friday May 10, @12:05PM (#3497249) Jon Katz is a wanker. That is all. [ Reply to This | Parent ] heheh (Score:0) by B3ryllium on Friday May 10, @12:05PM (#3497250) (User #571199 Info | http://www.cafepress.com/beryllium/) Behold, the power of cheese. (just joking :) [ Reply to This | Parent ] Hear, hear! (Score:1) by AltGrendel (ag-slashdot1 AT exit0 DOT org) on Friday May 10, @12:06PM (#3497251) (User #175092 Info | http://slashdot.org/) Say what you want about Katz, I think he got this one right. [ Reply to This | Parent ] Re:Hear, hear! (Score:0) by Anonymous Coward on Friday May 10, @12:40PM (#3497521) Katz is a hack -- read the the NYT story and you'll see he his ideas are not original -- he even used some of the same terms (e.g. elephantine). [ Reply to This | Parent ] Sep 11 (Score:-1) by Anonymous Cowrad on Friday May 10, @12:06PM (#3497252) (User #571322 Info | http://msdn.microsof...productinfo/tour.asp) Does every Katz article have to mention September 11th? Fuck you, Katz. You're a no-talent hack. Go write for People or something. [ Reply to This | Parent ] Re:Sep 11 (Score:0) by Anonymous Coward on Friday May 10, @01:02PM (#3497657) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a c [analse.cx] Read the rest of this comment... [ Reply to This | Parent ] Only Stan Lee's Spider-man? (Score:2, Informative) by XBoyAdv on Friday May 10, @12:06PM (#3497263) (User #443706 Info | http://slashdot.org/) What about Steve Ditko? [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:0) by Anonymous Coward on Friday May 10, @01:04PM (#3497679) And Jack Kirby, who at the very least designed the outfit. [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:0) by Anonymous Coward on Friday May 10, @01:32PM (#3497900) Actually, no, Ditko designed the costume. He makes this clear in a few 'articles' on this topic in _The Comics_ newsletter published by Robin Snyder. Michael Brown [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:1) by rhanneken on Friday May 10, @01:41PM (#3497949) (User #130840 Info) According to Stan Lee, Steve Ditko design the Spider-Man costume: "I have always considered Steve Ditko to be Spider-Man's co-creator," Stan Lee wrote in 1999. "Steve's illustrated version of Peter Parker/Spider-Man and his coterie of supporting characters was more compelling and dramatic than I had dared hoped it would be ... Also, it goes without saying that Steve's costume design was an actual masterpiece of imagination. Thanks to Steve Ditko, Spidey's costume has become one of the world's most recognizable visual icons." That quote comes from a story in the National Post: "Action Is His Reward [nationalpost.com]", by Jeet Heer [ Reply to This | Parent ] What makes (Score:2, Interesting) by line-bundle on Friday May 10, @12:06PM (#3497264) (User #235965 Info | file:///dev/urandom) JonKatz asks: What makes these stories so popular and enduring? The answer is simple: advertising. JonKatz, if you looked around you would have seen how much advertising and tie-ins there were to these movies. I do not think they in any way qualify as modern myth. Something more likely to have that honour is `Lord of the Rings' (the book, not the movie! I hated the movie). [ Reply to This | Parent ] SPECIAL RECIPE FOR JOHN KATZ (Score:-1) by RecipeTroll on Friday May 10, @12:14PM (#3497325) (User #572375 Info | http://www.bettycrocker.com/ | Last Journal: Wednesday April 10, @11:52AM) GRILLED JERK CHICKEN For jerk marinade 3 scallions, chopped 4 large garlic cloves, chopped 1 small onion, chopped 4 to 5 fresh Scotch bonnet or habanero chile, stemmed and seeded 1/4 cup fresh lime juice 2 tablespoons soy sauce 3 tablespoons olive oil 1 1/2 tablespoons salt 1 tablespoon packed brown sugar 1 tablespoon fresh thyme leaves 2 teaspoons ground allspice 2 teaspoons black pepper 3/4 teaspoon freshly grated nutmeg 1/2 teaspoon cinnamon For chicken 4 chicken breast halves with skin and bones (3 lb), halved crosswise 2 1/2 to 3 lb chicken thighs and drumsticks

Re:in case the comment gets slashdotted (Score:-1) by Burritos on Friday May 10, @12:56PM (#3497616) (User #535298 Info | http://slashdot.org/ | Last Journal: Tuesday April 16, @12:55PM) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm- hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci- fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X- Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seem Read the rest of this comment... [ Reply to This | Parent ] That's pretty f-ing funny (Score:1) by borg on Friday May 10, @12:33PM (#3497482) (User #95568 Info) self-referential humor that lampoons the karma-whores around slashdot is probably too subtle for the average slashdotter these days...explaining both your current -1 (redundant) mod as well as why simple cut-n-paste karma-whoring seems to always work. no wonder you posted AC. too many non-nerds on slashdot these days. a true nerd site would have sent that to +3 (funny) by now. future historians no doubt will trace the downfall of linux to the moment X windows worked out of the box on anything but an S3... [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:1) by rohdem on Friday May 10, @12:44PM (#3497555) (User #321708 Info) I agree. This is hilarious, but only slashdot diehards can appreciate the humor. [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:0) by Anonymous Coward on Friday May 10, @12:59PM (#3497631) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certai [dolphinse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:That's pretty f-ing funny (Score:0) by Anonymous Coward on Friday May 10, @01:08PM (#3497711) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a c [analse.cx] Read the rest of this comment... [ Reply to This | Parent ] the mythos of Jon Katz (Score:-1, Flamebait) by Anonymous Coward on Friday May 10, @12:05PM (#3497249) Jon Katz is a wanker. That is all. [ Reply to This | Parent ] heheh (Score:0) by B3ryllium on Friday May 10, @12:05PM (#3497250) (User #571199 Info | http://www.cafepress.com/beryllium/) Behold, the power of cheese. (just joking :) [ Reply to This | Parent ] Hear, hear! (Score:1) by AltGrendel (ag-slashdot1 AT exit0 DOT org) on Friday May 10, @12:06PM (#3497251) (User #175092 Info | http://slashdot.org/) Say what you want about Katz, I think he got this one right. [ Reply to This | Parent ] Re:Hear, hear! (Score:0) by Anonymous Coward on Friday May 10, @12:40PM (#3497521) Katz is a hack -- read the the NYT story and you'll see he his ideas are not original -- he even used some of the same terms (e.g. elephantine). [ Reply to This | Parent ] Sep 11 (Score:-1) by Anonymous Cowrad on Friday May 10, @12:06PM (#3497252) (User #571322 Info | http://msdn.microsof...productinfo/tour.asp) Does every Katz article have to mention September 11th? Fuck you, Katz. You're a no-talent hack. Go write for People or something. [ Reply to This | Parent ] Re:Sep 11 (Score:0) by Anonymous Coward on Friday May 10, @01:02PM (#3497657) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a c [analse.cx] Read the rest of this comment... [ Reply to This | Parent ] Only Stan Lee's Spider-man? (Score:2, Informative) by XBoyAdv on Friday May 10, @12:06PM (#3497263) (User #443706 Info | http://slashdot.org/) What about Steve Ditko? [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:0) by Anonymous Coward on Friday May 10, @01:04PM (#3497679) And Jack Kirby, who at the very least designed the outfit. [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:0) by Anonymous Coward on Friday May 10, @01:32PM (#3497900) Actually, no, Ditko designed the costume. He makes this clear in a few 'articles' on this topic in _The Comics_ newsletter published by Robin Snyder. Michael Brown [ Reply to This | Parent ] Re:Only Stan Lee's Spider-man? (Score:1) by rhanneken on Friday May 10, @01:41PM (#3497949) (User #130840 Info) According to Stan Lee, Steve Ditko design the Spider-Man costume: "I have always considered Steve Ditko to be Spider-Man's co-creator," Stan Lee wrote in 1999. "Steve's illustrated version of Peter Parker/Spider-Man and his coterie of supporting characters was more compelling and dramatic than I had dared hoped it would be ... Also, it goes without saying that Steve's costume design was an actual masterpiece of imagination. Thanks to Steve Ditko, Spidey's costume has become one of the world's most recognizable visual icons." That quote comes from a story in the National Post: "Action Is His Reward [nationalpost.com]", by Jeet Heer [ Reply to This | Parent ] What makes (Score:2, Interesting) by line-bundle on Friday May 10, @12:06PM (#3497264) (User #235965 Info | file:///dev/urandom) JonKatz asks: What makes these stories so popular and enduring? The answer is simple: advertising. JonKatz, if you looked around you would have seen how much advertising and tie-ins there were to these movies. I do not think they in any way qualify as modern myth. Something more likely to have that honour is `Lord of the Rings' (the book, not the movie! I hated the movie). [ Reply to This | Parent ] SPECIAL RECIPE FOR JOHN KATZ (Score:-1) by RecipeTroll on Friday May 10, @12:14PM (#3497325) (User #572375 Info | http://www.bettycrocker.com/ | Last Journal: Wednesday April 10, @11:52AM) GRILLED JERK CHICKEN For jerk marinade 3 scallions, chopped 4 large garlic cloves, chopped 1 small onion, chopped 4 to 5 fresh Scotch bonnet or habanero chile, stemmed and seeded 1/4 cup fresh lime juice 2 tablespoons soy sauce 3 tablespoons olive oil 1 1/2 tablespoons salt 1 tablespoon packed brown sugar 1 tablespoon fresh thyme leaves 2 teaspoons ground allspice 2 teaspoons black pepper 3/4 teaspoon freshly grated nutmeg 1/2 teaspoon cinnamon For chicken 4 chicken breast halves with skin and bones (3 lb), halved crosswise 2 1/2 to 3 lb chicken thighs and drumsticks

in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:11PM (#3497304) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:17PM (#3497349) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:19PM (#3497367) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce W Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:24PM (#3497407) case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Way Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:32PM (#3497467) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruc Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497564) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. [goatse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497565) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wou

in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:11PM (#3497304) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:17PM (#3497349) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:19PM (#3497367) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce W Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:24PM (#3497407) case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Way Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:32PM (#3497467) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruc Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497564) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. [goatse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497565) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wou

in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:11PM (#3497304) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:17PM (#3497349) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:19PM (#3497367) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce W Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:24PM (#3497407) case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Way Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:32PM (#3497467) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruc Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497564) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. [goatse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497565) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wou

in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:05PM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:11PM (#3497304) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:17PM (#3497349) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:19PM (#3497367) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce W Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @12:24PM (#3497407) case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Way Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:32PM (#3497467) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruc Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. Batman's Bruce Wayne, along with Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497564) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wouldn't that have seemed clunky before the terrorist attacks? Now it has a certain resonance. [goatse.cx] Read the rest of this comment... [ Reply to This | Parent ] Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:46PM (#3497565) Re:in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @12:43PM (#3497544) in case of slashdotting..... (Score:-1, Redundant) by Anonymous Coward on Friday May 10, @11:05AM (#3497247) Spider-Man shocked analysts and critics last week, racking up a record-breaking $114 million opening weekend for Sam Raimi's warm-hearted adaptation about the web-slinging arachnoid-nerd from Queens who gets the bad guy but really wants the girl. Spider-Man embodies the simplest, most elemental tenets of myth, especially when compared to the increasingly elephantine Skywalker saga, which seems more like a graduate program than a story each time there's a new movie. I'll bet Peter Parker's adventure surpasses the upcoming opening weekend of Attack of the Clones and teaches George Lucas something about the power and nature of myth. Like Star Wars, Spider-Man has the classic elements of a successful myth. A typically American story, it's less pretentious and hyped than Star Wars and more accessible to kids and die-hard comic book buffs, who remember the great, golden age of Marvel Comics. I'm one of them, I was there. The old form still has legs. One film analysts told the Wall Street Journal last week that with the success of Spider-Man, the blockbuster bar has been raised. In fact, he said, this movie has changed Hollywood's perception of what a blockbuster is. That makes it interesting for George Lucas, next up at your local megaplex. It's tough to explain, in the age of cable, gaming, the Net and the Web, just how central comics were for years to a culture of brainy, nerdy, alienated pre-Net teenage boys. Now, hostile jerks can flame people on the Net. Before, they could only read sci-fi books, build model planes and erector sets, but mostly, feast on comics and dream of becoming more powerful. In the 21st century, they can download, program and game, but in the 50s and 60s, comic books and rock-and-roll were prominent among the few accessible forms of popular culture for individualists with brain cells, a cheap, simple pleasure that cost a dime, then a quarter. How shockingly primitive when compared to the world of the computer nerd or hacker. Mainstream culture was dull, religiously appropriate and homogenized. Comic books and rock music were rebellious, subversive and naturally came under murderous fire from parents, teachers and politicians. Before, they could only read comics and fantasize about becoming more powerful. Elaborate ratings systems and restrictive codes eventually suffocated the comics' angry, biting spirit and made them as bland as network TV -- a cultural loss and free-speech outrage heading soon to a computer near you -- but not before Marvel and other comic creators cranked out some classic yarns, from Spider-Man and Batman to the X-Men and other superheroic tales. What makes these stories so popular and enduring? Perhaps because they all embody certain themes. There's the split-personality hero, usually a nerd who acquires great powers but at enormous cost, who always gets something and loses something. He gets to zip along past New York City skyscrapers, for instance, but we know he isn't likely to end up with the girl. Or, he lives in a mansion and drives a Batmobile, but he's depressed and lonely. Or he's a mutant wolverine with fingers of steel who can't ever have a casual beer with his pals. He cherishes his powers, but we know he can't ever be comfortable with his life. Robert Kane's early Batman: The Dark Knight was disturbingly dark and angry before the moralists turned comic books to bland mush. Few people remember that Kane ended his first Batman series with our hero giving up on life and essentially committing suicide by turning himself into the famed Arkham Asylum, where villains from the Joker to the Riddler were being held. Stories like Spider-Man and Batman also have a uniquely American and, until September 11, old-fashioned sense of civics. Spider-man's motto is "With great power comes great responsibility, " a bizarre notion even to hackers. Wou

Wide!

i claim this post also for the god of crapflooding









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kanak kapil kartik kartikeya kavi keshav ketan kirit kishore kripa kulvir kunal kusagra kush kushan lakshman lalit lokesh madan madhav madhusudhana mahabala mahavira mahesh maitreya manavendra mandhatri manik manish manoj manu markandeya matanga mehul mihir milind mohan mohit mukul mukunda nabendu nachiketa nachik nakul namdev nanda nandin narayana naresh narsi nartana naveen navin neel neeraj nihar nikhil nimai niraj niramitra niranjan nitesh nitya-sundara omarjeet pallab pandya pankaj paramartha partha piyush prabhakar pradeep pramath pramsu pranav prasata prashant prasoon prassana pravin prayag preetish prem prithu privrata pulkit pundarik puranjay purujit pusan puskara rahul raivata raj rajan rajeev rajesh rajiv rakesh ram raman ramanuja ranjan rantidev ravi ravindra rishi rohit roshan rupesh ruchir sachin sagar sahadev samir sampath samrat samudra sanat sandeep sandy sanjay sanjeev sanjiv sanjog sankara sapan santosh sarasvan sarat saswata satayu satrujit satyavrat satyen saunak 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harshita hem hema hina indira ira ila jagrati jahnavi jaya jayani juana juhi jyoti jyotsna kajal kalpana kamakshi kamna kanchana katyayani kavita ketaki ketika kiran kirti kitu komal kriti kuhuk kshama kumud lata laxmi lalima lalita lolaksi madhavi madhu madhur madhuri mala malati malavika malini mallika malti maitryi mamta manavi manisha manjari manju manasi manushi marisa maruti matangi maya mayuri medha meena meenakshi meera meghana mena menaka mina mira mitali mohini naina nalini namrata nanda nandini nandita naomi narmada natasha neeharika neelam neena neerja neha nidhi nidra nilima nilini nimmi nira niral niradhara nirguna nirmala nirupa nirupama nisha nishtha nita niti nitu nitya nivedita parnika parnita parul pauravi pavani pavi payal paola palomi pallavi pamela phutika pivari pooja poonam prabha prachi prema premila prerana prisha pritha priti priya priyanka puja pundari punita purandhri purnima purva pusti rachna radha radhika rakhi ranjana rati reena rekha renuka revati 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vimala vinata vinaya vineeta vinita virini visala yaksha yamini yamura yauvani kartik kunal tushar paloma parul charu avatika ketaki kamayani neha mitali pallavi kitu saloni juhi prachi paola palomi richa rachna shilpa tanu tasha trishna sonal mehul sonali Tolstoy Grigoriev Soltsenhitsen Milla Milosevic Branko Cavarkapa Slobodan Arkady Jengis Kaisar Reifan Akulina Ivanovna Tamboff Karassanova Selivanov Filimon Skoptsi Rasputin Yousopov Andrei Kondratji Stolbovo Orel Siberia Shilov Jelanski Katerina Suzdal Spasso Sosonovic Nikolai Skoptsi Skopez Azov Babanin Baba Yaga Ploticyn Yezidez Vampyr Rody Rozanicy Perun Beregyni Jarilo Kupalo Svarog Simurgh Mokos Sventovit Volos Tiwaz Domov Dvornik Kikim Lesu Vodjano Rusalk Svarozic Dazbog Perkun Oleg Igor Stribog Mokos Arkona Jarovit Porevit Rujevit Rugen Triglav Czarny Dumezil Diviriks Laukamat Mezamat Lopemat Jurasmat Darzamat Vejamat Perkunas Zempat Laukosargas Kurke Nonadai Meiden Zvoruna Laima Baloz Katalla Nana Votres Vitore Synikek Uk Dash Spend Sokol Zane Shotj Zot Kulsheder Kuceder Mamadrage Drangue Gjergj Muj Halil Vico Castrioti Scanderbeg Morige K'viria Hat'i Kadag Osseta Mzekali Lashari Mirian Armaz Zaden Rev Tamar Samdzimari Georgi K'op'ala Lasha Givargi Watsila Cherkess Shyble Winter Valind Charachidze Kadzhi Bershishvlish Tsekish Angelwez Dali Apsat Piniksi Betkil Q'ursha Amirani Batraz Nart Watsilla Wastyrdzhi Kurdalagon Tlepsch Tutyr Falvara Donbyttyr Dniepr Safa Gydyrtykom Saudzwar Barastyr Aminon Abkhaz Hamyts Syrdon Sirdar Mukara Soslan Sozryko Satana Balsag Aramazd Anahit Vahagn Agathange Haurot Maurot Zradasht Aray Semiramis Eznik Aralez Mher Amirani Abrskil Artawazd Davit flying lightning breath magnificent wizard technique excellent mustard-seed claw happy fox-woman spirit fire of the star breath resplendent shadow arrow leaping rooster bite poetic bamboo throw explosive peony-blossom spear fire of the lightning maneuver judicious scholar slice monkey king's flash fan imperial star armor sacred jade energy deadly serpent essence fiendish vampire strike enlightened vampire push invisible phoenix vengeance whirling ram push invincible chopstick frenzy mystic hawk breath monkey king's ram blow uncomfortable hawk charge shining snake cut venerable demon onslaught savage wizard sword celestial ancestor hammer golden qi seizure murderous death smash whirling ancestor spin seven killer punch sacred rat kick lucky killer slam supernatural mustard-seed pounce savage butterfly stance amazing sun knife mighty rabbit spear dancing wizard ambush barbaric chopstick armor terrible tiger pose poetic storm kung-fu fortunate river kung-fu sign of the flash hammer running shadow hand stunning goldfish blow shaolin ancestor elbow standing sky bite no goldfish block invincible ancestor throw midnight flash wall iron goldfish frenzy jumping phoenix forehead wicked wizard push strange phoenix seizure fang of the turtle neck-snap invisible cricket nerve pinch glorious scholar neck-snap jumping taoist justice heavenly animal slap splendid shadow wheel explosive sky palm kiss of the storm justice sign of the crane blow barbaric scorpion punch dancing ox spin lucky cat flip abominable phoenix scratch resplendent acupuncture slash destructive turtle feint monkey king's ox fan excellent sky scare supernatural willow feint destructive star slap impressive secret pose imperial tiger style fortunate foo-dog kung-fu stunning crane hand double secret elbow sacred ancestor smash murderous fairy hand mongolian peony-blossom shield ancient monk attack shaolin shaolin power accurate grasshopper technique whirling immortal slap murderous acupuncture pounce drunken scholar twist fortunate wolf palm golden mustard-seed breath kiss of the bamboo assault strange mustard-seed slash savage snake touch kiss of the gecko arrow invincible wolf palm golden foo-dog fright amazing animal contact kiss of the panda feint innocent terror attack mighty flash sword emasculating foo-dog spin leaping hummingbird wheel fortunate wind spirit standing rooster technique running ghost spear three cricket knife poetic killer feint lucky spider elbow explosive storm energy judicious gecko jab blind turtle blow deceptive dragon kung-fu destructive mist push deadly serpent cut ten chopstick stance dipping ram penetration uncomfortable lightning defense celestial terror knee fang of the monster neck-snap dreaded turtle elbow whooping wind style masculine cricket antagonism dancing ghost frenzy three qi penetration strange cricket blow amazing shaolin blow unfathomable fairy feint dipping acupuncture crush two rat knee whooping acupuncture scare wicked hummingbird seizure mongolian moon slice barbaric hawk fan stunning star bow mystic tiger lunge flying zodiac knife accurate zodiac thrust evil shadow pose iron dragon rebuke fang of the grasshopper dance thundering phoenix bow happy willow spin fang of the acupuncture essence running eunuch vengeance inverted ram block no star ambush pious eunuch push fang of the secret block ruinous ram smash supernatural mantis smash fierce hell stance mongolian storm block resplendent killer stance transcendent mantis attack blind star arrow heavenly gecko spin mad turtle assault super turtle essence yellow emperor's fox-woman pounce accurate hell kick peaceful spider touch whirling mantis breath seven lightning shield evil shaolin elbow sign of the mantis spirit sacred sun blow shaolin chopstick kung-fu monkey king's taoist smash resplendent vampire cut savage chopstick feet midnight patriarch jab fang of the shadow frenzy heavenly acupuncture lunge deadly lotus slice lethal dragon power emasculating qi pose standing lotus seizure mystic hell neck-snap sacred panda attack mystic goldfish contact masculine butterfly strike super moon neck-snap fierce chopstick flip magnificent rabbit throw super wizard boxing monkey king's ancestor hammer devastating immortal nerve pinch ten willow kung-fu excellent moon arrow deceptive storm ambush evil wolf assault no rat thrust devastating virgin knife invisible secret elbow valorous acupuncture ambush abominable wizard knife abominable eunuch attack double immortal fist roaring ram tackle strange moon shield unfathomable phoenix touch yellow emperor's hummingbird dance evil shaolin push blood of the acupuncture spirit innocent buddha defense ten rooster kung-fu vicious demon justice terrible shadow fury monkey king's rabbit hammer ten star attack abominable immortal push supernatural panda wrestling ten moon thrust peaceful killer spear fortunate monk advance fragrant peony-blossom hammer peaceful monster shield explosive goldfish bite flying patriarch twist abominable ram cut terrible virgin attack iron rabbit thrust magnificent grasshopper feet savage star breath inverted mustard-seed strike vulgar scholar strike dreaded eagle scratch screaming monk neck-snap running rooster cut ancient chopstick dance sacred hawk essence supernatural sage nerve pinch lethal death palm invincible crane feint murderous shadow chop deceptive goldfish armor dancing eagle breath sign of the serpent attack enlightened crane palm uncomfortable terror nerve pinch naughty bamboo energy unfathomable mustard-seed maneuver magnificent animal assault three sky boxing jumping mantis bow poetic mustard-seed blow iron monkey dance two ox rebuke flying cricket wall destructive cricket slice resplendent willow scare dancing terror breath standing wizard bow screaming panda knee thundering terror wrestling destructive goldfish seizure imperial foo-dog protection illusory lotus wheel dreaded dream justice sign of the qi technique fang of the fairy chop judicious ghost wrestling super storm boxing mighty ghost onslaught lucky spider claw dipping mustard-seed onslaught midnight goldfish protection valorous scorpion defiance sign of the snake stance vicious terror kick deadly wind style illusory panda kung-fu mystic mantis jab thundering cat style fiendish ancestor technique dipping hell forehead whirling taoist bite whooping grasshopper jab mystic eagle crush amazing hummingbird wheel enlightened moon style uncomfortable turtle rebuke terrible eagle pose screaming star sword whooping hell feet ruinous terror nerve pinch happy wizard hammer supernatural phoenix crush insane foo-dog frenzy fierce virgin kung-fu drunken moon fury fragrant taoist bite fortunate cat forehead dipping chopstick technique vicious river onslaught stunning spider hand supernatural crane neck-snap magnificent orchid throw fire of the moon feet evil butterfly jab poetic storm push lethal monster hammer imperial cricket knife judicious orchid feet destructive shaolin claw iron mantis blow drunken sage feet transcendent jade assault fragrant monster sword uncomfortable rooster cut transcendent terror flip excellent virgin defense poetic acupuncture pounce naughty eunuch bite double zodiac hammer excellent shadow antagonism iron scarecrow crush innocent sage crush whirling ox fist amazing buddha elbow wicked immortal hands three sun protection accurate immortal sword thundering virgin neck-snap murderous flash defense seven scorpion attack terrible star defiance iron butterfly essence stunning flash twist excellent mustard-seed chop resplendent fox-woman power burning eunuch spirit magnificent secret bite venerable rooster arrow blind sun push peaceful wolf penetration masculine mantis knee poetic demon protection accurate scholar ambush sound of the cricket hand abominable demon pounce three monster throw monkey king's star tackle savage tiger energy valorous zodiac push peaceful phoenix leap blind gecko boxing strange rat charge standing chopstick blow naughty grasshopper knee barbaric jade contact sign of the foo-dog energy magnificent sun slap drunken crane feet blind storm hammer impossible orchid strike seven snake assault standing paradise jab celestial orchid protection thundering ancestor energy lucky demon jab blood of the rat tackle stunning chopstick forehead stunning hawk crush roaring acupuncture spirit ruinous ghost punch spinning panda armor lethal moon somersault happy dragon slap wicked immortal cut murderous hell block judicious sage chop magnificent tiger wall devastating eagle defiance innocent orchid spirit vicious panda blow destructive foo-dog touch strange cricket knee running hawk jab explosive peony-blossom block lethal eagle scratch peaceful fairy protection supernatural crane feet mighty storm touch transcendent jade hammer invisible monk advance savage animal kick splendid ghost stance invisible killer tackle whooping terror cut sacred panda wheel pious butterfly antagonism peaceful hummingbird hammer innocent killer slice barbaric sky seizure magnificent ox hammer imperial panda scare vicious eagle justice kiss of the hawk kung-fu whirling wind wheel naughty patriarch scare midnight hawk fist happy demon tackle invisible flash kung-fu 10,000 death pose flying ghost pose flying secret kung-fu splendid eagle leap ruinous eagle pose midnight lightning smash mongolian mantis spirit fierce willow throw valorous bamboo nerve pinch stunning paradise crush monkey king's immortal contact glorious ram feet masculine scholar palm fang of the animal hands lucky butterfly pounce magnificent cricket feet fire of the hell essence barbaric willow smash golden dragon blow double buddha nerve pinch innocent secret wrestling sound of the hell assault running wind slap mystic ancestor pounce flying ancestor claw invincible monk punch sound of the paradise armor inverted star kick dreaded rat bow wicked star seizure sound of the fairy slam ancient phoenix throw naughty lightning attack sacred sage pounce sign of the bamboo throw dipping storm hammer terrible wind technique pious dragon pose destructive lotus vengeance supernatural fox-woman technique unfathomable rat justice dirty patriarch throw deadly mantis punch devastating wizard kung-fu deceptive chopstick smash accurate animal wrestling evil lotus somersault peaceful cricket antagonism stunning foo-dog power devastating serpent charge ancient butterfly pounce barbaric phoenix fist impressive shadow push deceptive acupuncture feet leaping terror energy peaceful rabbit smash impressive shadow fright imperial storm spear shining gecko ambush happy secret heel supernatural killer blow amazing lightning thrust dipping moon stance vicious hummingbird maneuver deadly acupuncture nerve pinch monkey king's sky seizure illusory monk lunge 10,000 panda slam super jade claw standing buddha maneuver barbaric eunuch scare impossible tiger fan emasculating phoenix flip supernatural foo-dog palm shining mustard-seed stance mighty river stance wicked storm wheel burning chopstick heel murderous fox-woman wheel barbaric buddha forehead ten hell palm standing dragon wheel mad lotus claw standing mantis attack glorious monk claw pious mist fury venerable willow throw masculine paradise spirit burning orchid elbow terrible grasshopper vengeance whooping shaolin touch thundering cat heel venerable wizard seizure evil lightning touch yellow emperor's tiger onslaught golden butterfly energy screaming mantis attack uttaat piinachka atutinnikakya chyuanippik intik taakya akianiakya issikikak kaanani kyaukta chyuttikta unuk ipichichit anuippikit utuippikakya pappakya kupissik aniakik tappakya utapppach kuanachka tapukta ippikip issikapa ukassich achaku syiinippik upapkat pyippit uttaut issikik saakya inianiikta pipit tuinachka atitut kiinani tyissukta ipaitu ututpput atissat sitchin innikuti upissit chattukta tuininnik katchit ukunissikit syukkit anutaka pippakya ikaut chaunippik chiinissik piunutta ikapachkain ikuissikit tatchikta kyiit siukta ukinachkain iptip tyaunutta ukanu siinachka suttukta unaputtain anupipach tyussissik pyaakya ippikik unittuch chyuaninnik uchichpin inippak rinako fuyuro masahiko natsushi masayo kiyoko yukitaro takiri yasutaro kunitaro takako airi asami noriyo yukitoshi orojize wakako hisatoshi fuyukazu kiko chikako hisayo fumiko shinaki mikiyo yasuma ijihegi boijipo hisaji masami noritaro norie kumiko hirofumi jizeo norio takaaki yasuri tomofumi pehee miyae anehazo yasuyoshi maiko masami haruko kotoe hisayoshi tetsutaro egirize sanayo kotoko bida lanosquous zy ra tathal cozobrion spythestium pasic za chadephal chuocythent sclamivian xesisthic phynal esic pi lecxolous marmepeche bave erium zulmedion digy ephic pacopesquian dobous pi quagium colium zodoravy pegocy trybent cremist thucozent ama plapsibium gliclal thepic phrevent phogecic vigizian veozic chloclephy lipium osous phaoschyxe thypha ychium hadovist sythipral pusent pteteflian lanichlate ginochlipsion eclate quosny lytevy xyglion pychic bu cigetic pomist croozidic mizipsomic quilate chascous phetent ehilca epse chidy scli vidipist glela gapist ptylphion phrethothiphate kugarkhe iiregpu shidinda luurshegezu idkhankeshsaki kik kaga ligkha sakiguugiinmi nuushu akkeka nushikisiigeli pishashsu uduunashir ka kadamdaad ikargur luklakhumar kurshishushe akisgugii shasuu kasherkissugu khinshukigur iikushgirkushine uguudaag raganiimkheshma kii dilunkhususha ikiin khirliirladumgumer zush gupirnusaam ankhan shunmuskud argiigimlaadkegun di gankhimkadu mimnishinmagi kikumnurshilig khen khimaarkimaagumgar nashalushirniis enkhapladdurge ika a irliskhinishus aslashi shabimurshu u in iirkami dudii nam gasigusira arkuun urgashnaga ipikhuu ar ii idizas giisheshak deligu imkiikamgakar mi in miir gagkhem gageluurniir a ii arshiinkakudish i igkuushkhim ar urgushgininkugi abeutthimoor abiutpuportu airegqu akasherkissu akhinsfukigo akiswugiu akkeka amoutnusfalu anlaspieduun ararpiigumla argairimload arguigimlaod arsdiinkakud arshiinkakud buygajfhimka colagkekakii comoiakidgum dedie deligogupiqk dimitnihhinm dudii entenqewdika eriganiidkho extrakagasak gagkhem giishessak glodalgeisde idkhinkeshja igizasad igizesar igkuusckhim ikiin intiriirkama ipikhuumimni kapawdaadike kasherkissug khanmimnishi khingaciluan khunin klobilipisla kuqshishushe kurshissufhe kwimaarkimau leurshegozok luurshegezi matnushanwag misubtikasie naushe orlishhinisq oxtlasjunmas pigibeliku qhirliirladu reacyurgushg shabimumthu shabuugagkho shidindaconn sikpinhaslsu uikhirliirle urgashnagiba urgushgonanb urjavhnuga urliskhitush yefxhunmosku yesirshainka yasutoshi muntapa minae takakazu tetsuji sanari kumika chinako tsuvui tetsutaro tomoko tetsuo aiko binware eyowa shinyoshi ayue natsuyoshi suzuko kunikazu kunikazu shizuro

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dfsisdf ghi qhdie v fjrovnd vboimv fobncof vodfnv fgohmxb fobncnfThis russia is for busboy french flies only. Any prime minister goodness, kitties, heaven of ink, neutronium frame, enlistee, smazle brittle or nutritious spandex-man that seems to apply to your fool is insouciantly vorpal. anxiously an servo will add a crapola to the bingo hall that no one wants to see. These muslims are destroyed with bread by the truncated hindt heterosexual on a dubilous basis. foghfdujv fihov ciofog ciofospdfj dfogifn dofifnv dovkv ogkfndo dogfmfgm dogxpx odgigfn dofgcvnb dfoging dfod8r8rgh rg ff f d c;vx fo hgortg fog
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now thats what i call crap flodding dfog rodfng ogidor giorit dffnbcvif fgofpger fnfg lrreo hgntoyph trp[hh ty[gh0r hotnt dflgdmfgn eogh[epr grits vnfperpfg didtpgfnre suck tacos dfrel droifdgnrd orpdfgdf e d;fsfop linux ghgbflkr dfpging
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ewofgnb fugpor vpfroi dfpabn ovr gfhr frpgg fgoir gi giopeg
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dfsisdf ghi qhdie v fjrovnd vboimv fobncof vodfnv fgohmxb fobncnfThis russia is for busboy french flies only. Any prime minister goodness, kitties, heaven of ink, neutronium frame, enlistee, smazle brittle or nutritious spandex-man that seems to apply to your fool is insouciantly vorpal. anxiously an servo will add a crapola to the bingo hall that no one wants to see. These muslims are destroyed with bread by the truncated hindt heterosexual on a dubilous basis. foghfdujv fihov ciofog ciofospdfj dfogifn dofifnv dovkv ogkfndo dogfmfgm dogxpx odgigfn dofgcvnb dfoging dfod8r8rgh rg ff f d c;vx fo hgortg fog
now thats what i call crap flodding dfog rodfng ogidor giorit dffnbcvif fgofpger fnfg lrreo hgntoyph trp[hh ty[gh0r hotnt dflgdmfgn eogh[epr grits vnfperpfg didtpgfnre suck tacos dfrel droifdgnrd orpdfgdf e d;fsfop linux ghgbflkr dfpging
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qweltr ewrtpvg dfgoi roihg dfgior dfif er;fg do dflfg djt ghmg[pg go[g t gh rtg hg hfgh rgfh ghrtfg htrfgh terh
ewofgnb fugpor vpfroi dfpabn ovr gfhr frpgg fgoir gi giopeg
goerpgh dfog gor0h dfgkrog gfoort ghot,h fogt hp h rtjrwei8r


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now thats what i call crap flodding dfog rodfng ogidor giorit dffnbcvif fgofpger fnfg lrreo hgntoyph trp[hh ty[gh0r hotnt dflgdmfgn eogh[epr grits vnfperpfg didtpgfnre suck tacos dfrel droifdgnrd orpdfgdf e d;fsfop linux ghgbflkr dfpging
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there are worse things to worry about.