Starting back in the earliest of human civilizations, mankind has serveed for and created figures to look up to as heroes, as ideals to strive for and admire. Greek and Norse mythology atomic number 18 excellent examples of these creations, where a wide variety of heroes and gods atomic number 18 the players in the drama of the supernatural universe, and the explanation for the natural universe. In modern culture too, we establish our own modern mythology. Our heroes and gods are not religious figures, however, and they are not venerated as gods. They are the characters we have grown to know and love that fill the pages of wholeness of the most powerful literary genres in contemporary writing: the peculiar book.
Few genres in modern literature have created to a grander extent controversy or generated a larger sub-culture than the powerful moderate of the risible book. Although some might not consider this a literary genre, comic books have done a great deal to prove themselves over the past 70 years. They have evolved far beyond their meager beginnings as the single moorage funnies printed in newspapers (hence the name, comics) early in this century into a genre in their own right, where entire universes exist. These universes embody both the lifelike and the fantastical, both the idyllic and the loathsome.
Striking and sometimes exaggerated illustrations, thickening weekly story lines and superhuman subjects characterize this literary and fastidious genre. Characterization is by far the most important particle of this genre, though. It is in this element that one of the most significant changes has occurred since the comic books inception nearly 70 years ago.
Early on in the history of comic books, characters were often nothing to a greater extent than their special ability, or gimmick. For example, the Flash, who was the fastest man on earth, and the common Lantern,
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