kickin' the superhero genre in the ass

Yes, “Kick-Ass” does have weapons, tight leather costumes, a villain and bad-ass stunts. So it’s a superhero film, right? But it makes fun of itself – and the superhero genre as a whole – so perhaps it’s a comedy.

In fact, “Kick-Ass” is part of the superhero genre, but that sort of film has been done so many times in recent years that “Kick-Ass” kicks the genre in the ass by creating a parody. We can compare this to romantic comedies by looking at a recent timeline.

2003: “How to Lose a Guy in 10 Days”
          “Love Actually”2004: “50 First Dates”
2005: “Hitch”          
          “Just Friends”
          “The Wedding Date”
2006:  “Date Movie”

“Date Movie” was a spoof on the romantic comedy genre that had been so overused in recent years. At this time it begins to make fun of the genre and the audience is aware of that.

That’s where we get the temporary end of the genre cycle. After the genre has its heyday, the parodic period enters. Then the genre leaves the big screen for a while until it makes a return in later years.

The parodic stage blatantly makes fun of the genre’s conventions. It does so by using clichés that the audience recognizes and accepts through comedic presentation (Giannetti & Leach, 58-59). Through Giannetti and Leach's definition of the parodic stage, we can explore why "Kick-Ass" fits into this category.

The most outright mockery of the superhero genre in "Kick-Ass" is when Dave Lizewski excitedly asks, "Why has no one thought of this before?!" It's ironic because the film industry had just gone through a superhero phase:

2003: "Daredevil," "The League of Extraordinary Gentlemen," "Hulk"
2004: "Catwoman," "Hellboy"
2005: "Batman Begins," "Fantastic Four"
2008: "Iron Man," "The Incredible Hulk"
2009: "Watchmen"

Those are just some of the superhero films from the 2000s. After so much villain-killing and leather-wearing, it was time for some comedic relief. "Kick-Ass" gives us that, and we were certainly ready for it and understood its jabs at the superhero genre. So when Dave asks that ironic question, we knew it is a sarcastic mockery.

Another important aspect of Matthew Vaughn's "Kick-Ass" is that it is self-reflexive. It's aware of itself as a movie and doesn't try to make the audience forget it's watching a fictional world. This is primarily accomplished through Dave's dialogue and narrative. He talks about his mother dying "from an aneurism in the kitchen... as opposed to a gunman in the alley." That's the kind of mother-death the audience has come to know and expect from the genre. That's how it worked in Batman, in the dark Gotham City Crime Alley. Dave knows we're expecting this and almost apologizes: "So if you were hoping for any 'I will avenge you mother!' you're out of luck." Later he even tells the audience that he's talking to us. He says we already know he'll survive "because I'm talking to you right now."

This kind of cliche narrative mocks the superhero genre in a comedic way, and puts it into the parodic stage of the genre cycle, so much so that it could be its own genre: the supercom.

Works Cited
•Giannetti, Louis D. & Jim Leach. Understanding Movies (Second Edition). Toronto, ON : Prentice Hall, 2001

Dick Tracy: Superhero or Average Joe?

In his article The Definition of the Superhero, Peter Coogan emphasizes the importance of a precise description of the characteristics that make up a “superhero”.  As with any genre, a clear and specific outline of its constituents is an important way of discerning itself from others. Coogan delineates three major points of significance that separate what we know as “superheroes” from other characters.

           
The first is his mission: the character must act selflessly, represent the good of mankind and make any and all attempts to do away with evil. More importantly, his (or her) cause may not in any way reflect a personal gain – these actions are purely to better society. Second, is their power. Superheroes are given immense strength, mystical qualities, or flying capabilities to name a few. These traits are what separate them from ordinary men, and allow them to take up their mission. Powers are arguably the most important part of the classification of a superhero. The third component that Coogan outlines is the superhero’s identities. They almost always carry a sense of duality – an ordinary and inconspicuous character who blends into society, and an improved, usually costume-clad superhero alter ego. Which brings about the other element to superhero identity, the costume.

            Though Coogan makes mention of other qualifying ingredients to a superhero and his story, he outlines the use of these three when testing a character to see if they fit the mold. This week’s film, Dick Tracy, does an excellent job of convoluting ones attempts to place him in the superhero mold. We can say that he is, in fact, a superhero… but how do we know?

            Firstly, his costume is a far cry from the spandex/cape combo we’re used to seeing on most of his well-known counterparts. However, Coogan makes reference to Scott McCloud’s book Understanding Comics, in which McCloud discusses how iconography can be amplified through simplification. The simple colours and design of the theatrical costuming in the film definitely do not go unnoticed. Tracy’s fedora and suit are a costume all their own. His one-sided identity is also somewhat confusing – he lacks the alter-ego persona we’re so used to seeing.

            Another somewhat confusing notion is that Tracy does not embody any of the specific powers of x-ray vision, flight, or superhuman strength that we’re used to seeing. He does, however, have his determination. In a strange sort of genre overlap, his “powers” are seemingly employing the use of spy-like tools to perform his detective duties. Could these be his superhero powers?

            The most appropriate of the categories is the third, his mission. Dick Tracy undoubtedly fits the man on a mission cast. His altruistic fight against evil in the city certainly rests him with his superhero foils for this portion of the classification. Giving everything he’s got, putting himself on the line, even coming close to losing the love of his life in the film, he does whatever it takes to save the day, refusing a life of normalcy and being confined to a “desk job”.

            After review of the classification of a superhero, Dick Tracy sure seems like one of a kind. Is he a “superhero” by an audiences classical standards? Perhaps not. A superhero as defined by Coogan’s definition? Slightly atypical, but definitely a man on a mission.