I think it's fair to view and apply mythical standards to comics, and it is my preference for comics to aspire to a more mythic and epic scope rather than lower itself to plots whose value rests in the things you list above. Morrison's recent Action Comics #9 seems to be a direct commentary on such storytelling. Moreover, the debate over a relationship between two gods versus a god and a human can be viewed through a more mythic lens, in my opinion. What are your thoughts on Umberto Eco's structuralist approach to studying comics? One book, Writing Essays About Literature even says that stucturalists tend to analyze popular myth and Eco is an example of that, especially in his famous work entitled The Myth of Superman.
Originally Posted by CaptMagellan
To quote Warren Ellis (WHY THEY’LL NEVER LET ME WRITE SUPERMAN: Brief, Disconnected Notes On An American Mythology"),
Superman, then, is the agent of modern fable — the most compelling fable the 20th Century gave us. Soap opera is unworthy of him, and, as has been proved many times, is not big enough to contain him and the central concepts of his story. At the heart of myth and legend is Romance. That is not the same as the weak, whiny demands of soap opera that begin with “characterisation” and crap on with demands for ever more levels of “conflict”, “jeopardy”, “ensemble writing”, “tight continuity” and all the rest of that bollocks. These things are unimportant. Many of them just completely get in the way of the job at hand. SUPERMAN requires only the sweep and invention and vision that myth demands, and the artistry and directness and clean hands that Romance requires.
SUPERMAN is about someone trying their best to save the world, one day at a time; and it’s about that person’s love for that one whose intellect and emotion and sheer bloody humanity completes him. It’s about Superman, and it’s about Lois and Clark. And that’s all there is. That’s the spine. That must be protected to the death, not lost in a cannonade succession of continuing stories. That’s what, in the continuing rush to top the last plotline, I see getting lost.