As Kent he can never save lives. Superman maintains a total separation between his two selves and this allows Superman to avoid any incongruity between his two identities. Kent remains the newspaper nerd, never hinting at what he is physically capable of. His ability to keep his double hidden from the world becomes evident when he is still in school and manages to resist capitalizing on his strength to become the school's starring quarterback or on his hyper-masculinity to get girlfriends. Kent keeps his double hidden from the world just as Superman keeps his mundane identity secret. Superman never sullies his image by wearing a monkey suit and does not appear weak even in the face of doom or disaster.
The only time Superman compromises the integrity of his double identity is by getting close to Lois Lane. In fact, she begins to suspect that Clark Kent might indeed be Superman when it dawns on her that the two have never been seen together. She quickly dismisses the thought as absurd, though, because Superman so artfully crafted his double. The differences between Clark Kent and Superman are sharp enough to help him avoid conflict. Yet Kent can change into Superman and back instantly and with little effort. The ease at which he can transform back and forth between Kent and Superman mirrors the fact that the double identity is superficial only. Beyond the externalities of his physical appearance, Kent and Superman are the same person.
Lex Luthor facilitates the development of Superman's powers, providing the superhero with a primary purpose. Kal-El told his son that he would be fulfilling a specific function as a super-being on Earth and that his powers would be put to good use. Kent therefore develops his double identity with his higher purpose in mind, sublimating his powers for the greater good of humanity rather than channeling them into mundane possibilities like wooing women. His double neither helps nor hinders his goal, but if Superman had never cultivated his alter-ego as Clark Kent he would never have met Lois Lane and would have been truly alone...
Hitchhiker's Guide Douglas Adam's comic work of science fiction, The Hitchhiker's Guide to the Galaxy, satirizes both society and science. As the story opens, protagonist Arthur Dent is railing against the local government for its decision to raze his home, which is in the way of highway construction. Dent argues that he was never made aware of the decision, though officials assure him the plans had been on display for a
American frontier in a comparative analysis using two books (Luis Alberto Urrea, In Search of Snow, 1994; Sam Shepard, True West, 1981) and a film, No Country for Old Men, Directed by Ethan and Joel Coen, 2007. These books will be presented in a comparative analysis with the film. The analyses used in this paper will focus on values, setting, conflicts and the way of life presented in each. How
Uncle Daniel and Lester Ballard Proper characterization is one of the greatest skills that a writer possesses because often times poor development of characters or their inapt portrayal can completely destroy even the most perfect of stories. It has been noticed that while most writers pay close attention to evolution of their characters, they do tend to go overboard with negative or positive characterization on some occasions. Despite their good intentions,
Waldo? Is a series of children's book created by Martin Handford. Essentially, the books consist o a series of detailed double-page illustrations that show dozens of individuals doing amusing activities in certain locations. The challenge is to find Waldo hidden in the group. Waldo is a rather nerdy looking character, with a red and white striped shirt, hat and glasses, but there are a number of similar shaped and
Consequences of these choices only compound his deep-seated insecurities. (Zushi) Both Ben and Miko are Japanese-Americans, and their shared ethnic background impacts on their lives in significantly different ways. Miko is proactive and politicised -- she is the assistant organiser of a film festival showcasing Asian-American talent. Ben, meanwhile, is a depressive manager of a local cinema, seemingly content in his life of slow-burning frustration and -- not surprisingly --
The argument that I have been making is a twofold one. The first branch of this argument is that Pop Art, while it incorporates ordinary images and commercial motifs and tropes just as does commercial design, it does so in different ways and for different reasons than does purely commercial work. It is because the motivations of the Pop Artist (and I suppose we might say of the art objects
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