Category Archives: Greek Gods

The Wonder Woman/Man of Steel/Batman v Superman Connection

wwsmWonder Woman has hit the ground running since it came out and has only continued to pick up steam. The reviews have put it in the top 1% of superhero movies and it just had the fourth largest 3rd weekend for a superhero movie behind The Avengers, The Dark Knight and Spider-man.

I’ve seen Wonder Woman four times now and I am surprised that more has not been written about how it’s so similar to Man of Steel. The themes in both movies, for both characters are very similar, what is different is the two characters themselves and their circumstances growing up.

Norman Lao said it best on my Facebook so I will quote him here.

“I think the biggest difference between Clark and Diana are the ways they were raised. Clark was an alien raised by humans who worried what “mankind” would do if they ever discovered his secret. The Kents, knowing full well that mankind is in fact laced with a rich history of paranoia and violence towards not only each other, but that which they fear – especially proof of alien existence – i.e. Kal El, makes them, and especially Jonathan, very wary of how they raise and educate Clark until he needs to reveal himself. Diana on the other hand was raised as a warrior amongst other warriors – training and honing herself to defend the world against and the inevitable return of evil without any exposure the gray and ambiguous nature of good and evil and the spaces in between. I think this is where she actually has the advantage over Clark because she has been raised with extreme and concrete definitions of “good” and “evil. She knows and believes what is right and wrong. These are the fundamental differences in the storytelling and what I believe succeed very well in their respective films.”

Even though Diana and Clark are raised in different circumstances, the lessons they learn are not that different. What is most interesting about them is the ways in which watching the sacrifice of a loved one affects their actions forever. Clark watches his father die in a tornado. Now so much has been said about this scene but the best thing I have read on it comes from The Fanboy Perspective.

dghfgfd1hgdftIn the context of Man of Steel, Jonathan’s death is all about sacrifice, not only Jonathan’s sacrifice but it was also setting up Clark’s sacrifice later on in Man of Steel. Clark learning limitations to his powers mattered little in Man of Steel because he wasn’t so incredibly overpowered to begin with, but to learn about sacrifice and selflessness was paramount for the narrative and development for this version of Superman. Clark sacrificed himself, at least according to Jonathan, for the Earth and in the end Superman sacrificed Krypton and the future of his own kin, for us, for Earth.

The fact that Clark could had done A, B or C in the tornado scene is what made this scene so powerful, that it was a conscious decision by Jonathan and that his death was not a fluke of destiny ie a heart attack. Jonathan’s willing sacrifice basically made the man of steel who he is and who he will become, Earth’s greatest champion. Because let’s face it, when Clark finally becomes Superman, he sacrifices himself for us 100%, and I think Jonathan gave him the courage to do that. Jonathan taught Clark his most defining lesson through his own death and I think that’s rather poetic.

Clark sacrificing himself and his life on Earth for the safety of Earth when Zod first showed up demanding Kal El present himself to them, ‘or else’ is powerful, the only way Clark could protect Martha was by volunteering to leave her behind forever. Superman destroying the world engine on what was very likely a suicide mission. Superman destroying the scout ship and the genesis chamber, which was Krypton’s only chance at living again, and Superman ultimately killing Zod, the last of his brethren. It was all about sacrifice. That’s what Jonathan’s death taught Clark, sacrifice and selflessness, and I think that is the absolute epitome of Superman, and what he represents.

Jonathan’s death scene was the underlying pulse of the entire movie and remains Kal El’s moral compass, long after he’s gone. Sacrifice is what Man of Steel was all about in the end. Superman sacrificing himself, his people and Krypton for us, the shamelessly ungrateful humans. Now I think that’s some powerful storytelling right there. Very few comic book movies even attempt to imbue the sort of heart and internal fortitude that Man of Steel did with Superman.

I also take issue with the popular usage of the word ‘Tornadocide’, that word implies that Jonathan had a suicidal intent when he went back for the family dog, he clearly did not want to die. Jonathan had every intention of coming back to his wife and son but the circumstances quickly changed and Jonathan was forced to make a monumental decision in what was literally, a second. Jonathan had explained to Clark before that there were bigger things at stake than their own lives and in that moment, Jonathan had to decide if he had the courage of his convictions, and he did.

wonder-woman-trailer-image-46Now, this scene for Clark is pivotal for his growth as a character and why he will act the way he does later on and Diana has her moment. Ares almost has Diana. He’s almost convinced her that mankind does not deserve her or is worthy of her protection. Like Zod (who’s name is a lot like God), offered Clark the opportunity to remake the world for the Kryptonian people, Ares offers Diana the same choice, to join him and recreate paradise. What happens in that moment, as Diana, tank raised over her head, ready to bring it down on the worst of humanity, she remembers Steve’s sacrifice.

Remembering Steve make the choice to put the lives of his enemies above himself as well as his friends changes Diana forever. She chooses to believe in the truth about humanity, there is a great darkness within them, yet there is also the ability to transcend that darkness though self-sacrificial love. The word agape in Greek means, “selfless love of one person for another” and that is the love with which Diana fights in the name of. She, like Steve, puts herself on the line, even for those that don’t deserve it.

This not only mirrors Man of Steel, but also Clark’s decision in Batman v Superman. Clark willingly chooses humanity and Earth. He says this is his world and he willingly sacrifices himself for it, even though, as we we have seen, half the world is either afraid of him or worse hates him. Sacrifice is the DC Comics mantra in it’s films and each film has been building on this theme. Loving sacrifice is the hallmark of the truest heroes. At the end of Wonder Woman, Diana emails Bruce, thanking him for bringing back Steve to her, but it’s bigger than that. Remember, Diana has taken a step back from suiting up as a hero. She’s been working from the shadows to inspire humanity. What Bruce has reminded Diana of is the lesson Steve taught her so many years ago and that Clark reenforced not that long ago, loving sacrifice is the best way to inspire love and change in others. So at the end of Wonder Woman, we see her go off, to join Bruce as a team, to help stand between evil and the world. The age of heroes has come again.

superman_s_monument__his_monument_is_around_you_by_veku786-da8uwc5.png-2.jpeg

Don’t miss The 602 Club and Cinema Stories episodes about Wonder Woman. For more on Man of Steel, check out The 602 Club #15 and for more on Batman v Superman check out The 602 Club #74 and S20.

Who Mourns For Apollo?

zeus-is-dead-tour-banner-5

My mom introduced me to Star Trek when I was a kid, in the pre-TNG era. At the time, one of my favorite episodes was “Who Mourns For Adonais?”, a vision of what happened to the Greek gods by the 23rd century. I loved Greek mythology (and still do), so I was thrilled to see the Enterprise meet Apollo.

As of last week, there’s another vision of what happened to the Greek gods since their heyday. My newly-released comedic fantasy, Zeus Is Dead: A Monstrously Inconvenient Adventure, tosses the pantheon back into our world following Zeus’s 2009 assassination. For my guest post here on Life, the Universe, and Everything In Between (and hi, it’s great to be here!), I thought I’d compare Star Trek’s Apollo with my own Apollo, who happens to be one of the novel’s main characters.

But first, a quick refresher on the episode: The Enterprise crew find themselves captive guests on a planet by Apollo, the last of the Greek gods after the others “returned to the cosmos” without the worship they need to survive. Apollo, referring to them as his “children,” demands the crew stay, forever, and worship him. Also there may be some light goat-herding.

The Differences

"I am Apollo, god of light and Elton John's wardrobe!"

“I am Apollo, god of light and Elton John’s wardrobe!”

Let’s be honest: Trek’s Apollo is something of a pompous jerk-nozzle. But perhaps he’s got a right to be bitter? After all, he’s the last of the gods, no one worships him anymore, and he has to sit around all day in that ridiculous outfit. This Apollo hasn’t modernized. In Zeus Is Dead, the gods use cell phones, dress in modern clothing, and use Hephaestus’s special plasma-screen TVs for their mortal-watching. Heck, Dionysus hangs around in a casino all day playing video games. Trek-Apollo, while further in the future, is also stuck in the past, and perhaps a little bitter about it. Still, that doesn’t really excuse the sexist cracks (“You seem wise, for a woman.”) and general abusive boyfriend shtick he gives Lt. Palamas. And then there’s that whole forcing the Enterprise crew to stay, herd goats, and worship him all day…

I’ve always considered Apollo to be one of the more benevolent of the pantheon. Yes, he has his jerk moments in the myths, but on the whole, he strikes me as comparatively noble. Sure, my Apollo likes being worshipped, too, but he also feels he needs to hold up his end of the bargain. That’s part of why he’s so stressed out in Zeus Is Dead: there are so many billions of mortals in the modern world, all counting on him to handle his divine duties in a responsible manner.

Trek’s Apollo also goes to using physical threats quicker than mine. He’s in an adversarial position in the episode, so it makes sense for him to be more aggressive in order to put the crew in jeopardy. Trek-Apollo throws thunder and lightning around a lot, too, but that’s Zeus’s thing—or at least it used to be. Presumably this Apollo picked it up after Zeus left. Zeus is gone in Zeus Is Dead, too (it says so right there in the title, after all) but my Apollo still prefers a bow, the occasional sword, or simply his wits. In my world, Athena’s got the lightning tucked away for safe-keeping.

Despite having picked up Zeus’s lightning, Trek’s Apollo seems to have a smaller divine portfolio: “God of light and purity. Skilled in bow and the lyre.” But I’ve always seen Apollo as the over-achiever of the pantheon. Look him up. He’s god of the sun, light, prophecy, literature, music, archery, medicine, gelatin desserts, and the list goes on. Let’s face it, the guy can’t delegate. And here, perhaps, is the largest difference: my Apollo wants LESS attention. He wants to be able to go target-shooting with Artemis now and then without getting interrupted by texts from rapacious mortals every other moment. It’s what leads him to try to—well, I won’t go into the book’s details too much here, but it suffices to say it gets him into an epic amount of trouble.

The Similarities

There are a few. Both can get tired out. It’s a major plot point in both the episode and in Zeus Is Dead. Not only is that from the original myths, but it’s very difficult to use gods as main characters and not give them some weaknesses. (Fortunately, the Greek pantheon has never been considered infallible.)

Both are skilled at prophecy. Trek-Apollo knew humanity would come to the stars one day. “Of all the gods, I knew and I waited.” Though his prophecy is imperfect, too, since he didn’t foresee what happens…much like my Apollo’s visions of Zeus’s return.

Both have their pride – though Trek-Apollo’s is more easily tweaked, at least at first. In Zeus Is Dead, Apollo suffers enough setbacks that he starts getting a bit snippy about things too, and in those moments both Apollos seem to share a need to demonstrate power to comfort their egos.

And, finally, both Apollos crave a break from their current circumstances, but whereas the gods in Star Trek faded away into melancholy non-existence, the gods in Zeus Is Dead have done the exact opposite: Freed from Zeus’s edict of non-interaction, they’ve come back to the world like kids on Christmas morning to dive into the bounty of worldwide celebrity status. They revel in their new temples, casinos, and media empires, their long-starved, superhuman egos now gorging themselves on as much attention as they can get…

…What could possibly go wrong?

Zeus

Is Dead

A MONSTROUSLY INCONVENIENT

ADVENTURE

“A hilarious mythological tale of god-like proportions. Munz has crafted a tale of bizarro comic fantasy that sits comfortably among the ilk of Gaiman and Pratchett.”

—Andrew Buckley, author of Death, the Devil, and the Goldfish

ZID coverBOOK DETAILS:

Title: Zeus is Dead: A Monstrously Inconvenient Adventure

Author: Michael G. Munz

Genre: Contemporary Mythological Fantasy

Release date: July 21st, 2014

Publisher: Booktrope Publishing

Length: 446 pages (paperback)

Synopsis:

The gods are back. Did you myth them?

You probably saw the press conference. Nine months ago, Zeus’s murder catapulted the Greek gods back into our world. Now they revel in their new temples, casinos, and media empires—well, all except Apollo. A compulsive overachiever with a bursting portfolio of godly duties, the amount of email alone that he receives from rapacious mortals turns each of his days into a living hell.

Yet there may be hope, if only he can return Zeus to life! With the aid of Thalia, the muse of comedy and science fiction, Apollo will risk his very godhood to help sarcastic TV producer Tracy Wallace and a gamer-geek named Leif—two mortals who hold the key to Zeus’s resurrection. (Well, probably. Prophecies are tricky buggers.)

Soon an overflowing inbox will be the least of Apollo’s troubles. Whoever murdered Zeus will certainly kill again to prevent his return, and avoiding them would be far easier if Apollo could possibly figure out who they are.

Even worse, the muse is starting to get cranky.

Discover a world where reality TV heroes slay actual monsters and the gods have their own Twitter feeds: Zeus Is Dead: A Monstrously Inconvenient Adventure!

Find Zeus is Dead on:

Goodreads / Amazon / Barnes & Noble

ABOUT MICHAEL G. MUNZ

michael photoAn award-winning writer of speculative fiction, Michael G. Munz was born in Pennsylvania but moved to Washington State in 1977 at the age of three. Unable to escape the state’s gravity, he has spent most of his life there and studied writing at the University of Washington.

Michael developed his creative bug in college, writing and filming four exceedingly amateur films before setting his sights on becoming a novelist. Driving this goal is the desire to tell entertaining stories that give to others the same pleasure as other writers have given to him. He enjoys writing tales that combine the modern world with the futuristic or fantastic.

Michael has traveled to three continents and has an interest in Celtic and Classical mythology. He also possesses what most “normal” people would likely deem far too much familiarity with a wide range of geek culture, though Michael prefers the term geek-bard: a jack of all geek-trades, but master of none—except possibly Farscape and Twin Peaks.

Michael dwells in Seattle where he continues his quest to write the most entertaining novel known to humankind and find a really fantastic clam linguine.

Find out more about him at michaelgmunz.com. While there, it wouldn’t hurt to get a FREE copy of Mythed Connections, the spiritual prequel to Zeus is Dead.

Contact Michael on Twitter / Facebook

GIVEAWAY INFORMATION

Sign up to win either:

A $25 Amazon Gift Card

One of two signed copies of Zeus is Dead by Michael G. Munz

DVD of Clash of the Titans (1981)

One of five e-copies of A Memory in the Black, Book 2 in The New Aeneid Cycle by Michael G. Munz

Click Here -> a Rafflecopter giveaway