goat man goat man's got another big plan
he'll sell it to you or anyone he can
because this is much better than minimum wage
no matter how things work he's gonna get PAID
you take take off my steak
you leave the cycle spinning
dope man dope man (goat man goat man)
What exactly do you "HAX"? I'm real interested, as I have a friend who is an aspiring hacker but doesn't know what he should hack. He went and bought an issue of 2600 but they were of no help to him.
I'm requesting information on the status of our ship
The computer is malfunctioning
It's got a faulty chip
We've been stranded in space for thirteen days
and everyone's unconcious except for me
and I've been pulling up the lady's shirts and looking at their tits
and I took a piss in the captain's bed
and when everyone wakes up I'll be in for it
I'm a bad astronaut, naughty astronaught, thinking dirty thoughts and I hope I don't get caught..
Your story is 90% better than I could ever do. Maybe one day I will sit down and write something in Notepad, don't you know? Glad to read you may include diapers in your next story. Make it a Danny punishing Stephanie or DJ story, and he makes one (or both) of them wear a diaper.
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 the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @11:11AM (#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:0) by Anonymous Coward on Friday May 10, @11:17AM (#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:0) by Anonymous Coward on Friday May 10, @11:19AM (#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
Slashdot Mirror
I would of had first post . I am so mad. argh. why me? why?
Look at this. or is this only because it has to do with Apple?
Sir, do you have a penis flower?
I hate oral sex.
hello, how did you get rid of slashdot ads without getting rid of slashdot story icons?
Hello I'd like to learn more about the "Linux"
I heard you can say 'grep' and 'crontab' or something?
I hereby claim this first post for all logged in trolls.
Was she wearing a diaper?
I claim this first post for all of us non Anonymous Cowards. You dork.
goat man goat man's got another big plan he'll sell it to you or anyone he can because this is much better than minimum wage no matter how things work he's gonna get PAID you take take off my steak you leave the cycle spinning dope man dope man (goat man goat man)
I would like to stop, but she makes me feel really good. Also, my software based modem will not allow it. Hi. Do you like diapers? I like diapers.
YOU ARE SO LEET wow this is great
What exactly do you "HAX"? I'm real interested, as I have a friend who is an aspiring hacker but doesn't know what he should hack. He went and bought an issue of 2600 but they were of no help to him.
The Holacaust was a story made up by Jews so we could feel sympathy for them. Jews control the media.
The computer is malfunctioning
It's got a faulty chip
We've been stranded in space for thirteen days
and everyone's unconcious except for me
and I've been pulling up the lady's shirts and looking at their tits
and I took a piss in the captain's bed
and when everyone wakes up I'll be in for it
I'm a bad astronaut, naughty astronaught, thinking dirty thoughts and I hope I don't get caught..
I was just watching NBC Nightly News with Tom Brokaw and they said there will eventually be suicide bombers here in the US!!! HOLY SHIT!
I GOT IT! 7 is lucky! 7th post!
Your story is 90% better than I could ever do. Maybe one day I will sit down and write something in Notepad, don't you know? Glad to read you may include diapers in your next story. Make it a Danny punishing Stephanie or DJ story, and he makes one (or both) of them wear a diaper.
HI Hhow the fuck am I supposed TO GET FIRST POST if all you pussies are awake at this fucking hour
Am I the only one who doesn't enjoy his writing?
I believe you are the only one who does not enjoy his writing. Sorry.
First Homer Simpson had a helper monkey. Now the dude off of Malcom in the MIddle had a helper monkey. Who is better?
You need Linux to be a hax0r.
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 the Superhero stars and any number Read the rest of this comment... [ Reply to This | Parent ] in case the comment gets slashdotted (Score:0) by Anonymous Coward on Friday May 10, @11:11AM (#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:0) by Anonymous Coward on Friday May 10, @11:17AM (#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:0) by Anonymous Coward on Friday May 10, @11:19AM (#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
The one where Danny locked her up in her pants and she wet them. Please respond. thanks.
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