Kratos (Origins)

Kratos is the son of Zeus and Callisto. Kratos also has a younger brother named Deimos, Deimos was scarred by his broken house and was captured by Ares. Kratos got a red mark symbolizing Deimos’ scar. When the rumors about his sire’s identity grew so strong, his mother took Kratos to Sparta and receive training. He quickly become a Spartan general and although his tactics were brutal, they were efficient. But soon he learned that despite all his military power he was no match for Eastern Barbarians, numbered in the thousands, and his men fell one by one. As he was ready to be finished by the Barbarian King, Kratos pledged Ares the God of War and the Furies to save him,and kill his enemies. Kratos exchanged his soul for a victory. There are three blood oaths: the death of his enemy, the death of his enemies and the death of his brethren. Kratos became a living weapon, his swords attached to chains and burned to his forearms. He continued in the ways of war and death for Ares. But Ares deceived Kratos, and in his bloodlust Kratos killed Lysandra and Calliope. He was then cursed by a woman of the village, the ashes of his family forever turning his skin pale.

God of War: Ascension

The Furies were sent by Ares to find Kratos who broke his oath. 6 months later, Kratos met a Fury/Demigod named Orkos who helped Kratos break his connection with Ares. Orkos told Kratos to go to Delphi to meet Aletheia. Kratos was encountered by Pollux and Castor who took Aletheia’s rule. Aletheia was blind since her eyes were ripped out by the Furies. Kratos used the Amulet of Uroborus to destroy and construct surfaces. When Kratos came to Delos, Orkos gave Kratos an Oath Stone in which Kratos can use a decoy to get out of the Furies’ traps. After finishing the Trials of Archimedes, Kratos and Orkos were sent to Aegaeon the Hecatonchires. The Hecatonchires was a titan who broke his oath and became a prison for oath breakers. Kratos escaped from the insect infested prison and killed Megaera. He later killed Tisiphone, her pet Daimon and Alecto who can transform into a sea monster. Before the Furies died, they made their son, Orkos their oath keeper. Kratos regretfully killed Orkos which broke his oath and made him remember the tragedy made on Calliope and Lysandra. He put Orkos’ corpse where Calliope and Lysandra’s were.

God of War: Chains of Olympus

Kratos did various tasks for the gods for 10 years. One task included that Kratos must help Helios defeat Morpheus, Atlas and Persephone. The death of Persephone led to Atlas carrying the world on his shoulders. Atlas stated that both he and Kratos will meet again.

God of War

Kratos’ last task from Poseidon was to kill the Hydra. The torment of what he had done to his family still haunted him. He wished for forgiveness and sought out Athena.

Athena and the other gods have become troubled by Ares and she offers Kratos forgiveness if he kills the God of War. Eventually, Kratos finds Pandora’s Box and with it’s power he is able to kill a god. However, the Box contained the evils of the Great War and infected the other gods. Athena put hope to help Kratos kill Ares. But when he goes to claim his prize, Athena forgives him, but this does not make him forget his past. Kratos attempts suicide, but is saved by Athena. Without Ares, the gods have decided that Kratos will be the new God of War.

God of War: Ghost of Sparta

Before Kratos actually became a god, he had to find Deimos. Kratos sunk Atlantis which made Poseidon upset. Kratos found Deimos at the Domain of Death. Kratos and Deimos killed the owner of the land named Thanatos. Deimos later died. He was dug to his grave by the Grave Digger (Zeus). The Grave Digger said “Only one remains”. Kratos is now a God of War.

God of War II

As a god, Kratos assists the Spartan army and does not associate himself with the other gods, which angers them. Finally, while trying to destroy Rhodes, Zeus intervenes. Zeus gives life to the Colossus of Rhodes and tricks Kratos, telling him how to defeat the giant. Kratos puts all his godly energy in the Blade of Olympus, but it is taken from him by Zeus, who kills him. The titan Gaia helps Kratos escape from Hades and tells him to find the Fates to change his destiny. When he finds them, they cannot do as Gaia says and Kratos slays them. Using the Loom of Fate, Kratos travels back to when Zeus killed him. He battles with the king of the gods and defeats him, but Athena intervenes, at the cost of her own life.

Athena tells Kratos that Zeus was trying to break the cycle of the son killing the father and that Kratos is the son of Zeus. This does not deter Kratos from seeking his revenge on Zeus. He uses the Loom once more to go further back in time to the Great War between the Titans and the Olympians. He rallies the Titans to fight with him in the future and kill the gods of Olympus.

God of War III

Kratos and his Titan allies were attacked by the Gods. After brutally killing Poseidon, he confronts Zeus but is blasted from Mt. Olympus along with Gaia. With his grip slipping, Gaia refuses to help Kratos, stating he to be nothing more than a pawn to serve the Titans, having now brought them to fight Zeus, he outlived his usefulness.

Kratos fell into Hades Realm, where he is greeted by Athena, who had become some sort of Angel and agrees to help Kratos, so can mankind be freed from Zeus’s grasp, and told he should extinguish Olympus’ source of power, the Flame of Olympus. In the Underworld, Kratos meets Hephaestus, the God of Smith, who warn him the Flame of Olympus is deadly to all who touches it. Kratos also kill Hades and finds the tombs of Ares and Persephone. He learn Hephaestus had created Pandora, a child-like construct, who is the key to extinguish the Flame of Olympus and had been hidden by Zeus, so Kratos cannot find her.

He resumes his quest back to Olympia, killing Hermes and taking his boots; curb stomp Hercules to death, snaps Hera’s neck with his bare hands after she called Pandora a whore. Back above, he finds Gaia, now loosing against the Gods and ask his help again, but having been already betrayed by the Titans he refuses and sever her hand. Kratos also find the goddess of love

Aphrodite and makes love with her, much to Hephaestus’s dismay, but when he learn Kratos intend to sacrifice Pandora to the Flame of Olympus so he can retrieve the Pandora Box, Hephaestus send him to the Underworld to retrieve the Omphalus Stone inside their grandfather’s belly, the Titan Cronus.

Cronus and Kratos fight, and after Cronus made the foolish mistake of swallowing Kratos like he did with his sons, Kratos cut his way from the Titan, finding the Stone and use the Blade of Olympus to finish off Cronus. Hephaestus make a new weapon with the Stone an give to Kratos, but he tried to kill him so he cannot reach Pandora, and Kratos kill him in turn.

He finds Pandora, but Kratos grew fond of her because he reminds her of his daughter and is at first, unwilling to let her sacrifice herself, as he realized that if he lost Pandora he would be throwing away another loved one because of the manifestation of his daughter in Pandora’s form. But Zeus appears and they end up fighting, but Pandora tries to jump in the flame only to Kratos hold her, but Zeus kept reminding him of “do not fail her like you fail with your family”making Kratos exploding in anger and attacking Zeus in a overwhelming rage, but letting Pandora fell into the Flame.

After he open the Pandora’s Box and find it empty, the guilt of a loved one sacrifice in vain lies heavily in his shoulder and he pursues Zeus into a last stand, which is interrupted by Gaia herself, having survived the attempt against her, Zeus and Kratos fell into her heart and after one last battle, Kratos kills both Zeus and Gaia by stabbing them with the Blade of Olympus in the heart.

After removing the Blade from Zeus’ chest, he emerges a spirit moved by his overwhelming hatred for Kratos and imprisons him in his own mind. However Pandora appear to him and remind him of hope and her sacrifice. Kratos manage to get hold in to himself, overwhelm Zeus and beat the tar out of him to death.

However, after the gods have been killed, calamity after another befell over mankind, leaving a calamitous world behind, and Athena appear to Kratos and demands she return her power to him. She explain the Box was not empty, after Kratos opened it to fight Ares, all the evils rested inside the Box sought out the strongest and end up corrupting the Gods, but the Hope, the last remnant was inside the box sought Kratos, and he still has the power of Hope inside him. Rather than let himself be manipulated by another, he impale himself with the Blade of Olympus and release the power of Hope into the world. After he falls dead in the ground, in a post-credit scene, a trail of blood into the sea is seen, indicating he might still be alive…

Violence in comic books

Today’s Era In Comics

We have been told that children’s games are no joke “Well for me that is!” what that means is, children today and adults are acting violently from reading comic books and playing video games. Through out history reports from all over the United States quotes “Comic Books is expanding and the cause of Sex, Drugs, Killings, And Gangs.” So why read comic books? Well during the 1970’s era in comics (Silver Age of Comics) Green Arrow issue #86 and #87 shows Green Arrow previous sidekick (Speedy) taking drugs, having this issue have had the government take action along the media, it expanded drugs all over the nation but drugs have gotten big before comics evolved in a community conflict base.

Was Horror Comics The Cause?

In the 1950’s Horror comics transfer the name from heroism of comics to the faction of Ill-Will of comics. Horror comics was based on the creatures of the myth we all know and love, from Dracula to Wolfman and Zombies to Murders. While there are other precursors to the American horror comic, it’s widely accepted that the first with original content was Avon Publications’ Eerie Comics anthology published in 1947. Horror Comics were refined to the heights of mainstream popularity during a period from 1949-1955 by William M. Gaines’ EC Publications. With their “murderer’s row” of horror titles, anchored by The Haunt of Fear, The Vault of Horror, and the hugely popular Tales From the Crypt, they dominated the market until they were shut down by a growing public backlash against horror and crime comics.

Fueled by Dr. Fredrick Wertham and the Senate subcommittee hearings on juvenile delinquency, the major comics publishers of the time banded together and created a self censorship body that all but ended horror comics in the United States. The Comics Code Authority would hold a hammer-lock on American comics publishing for the next several decades.
Horror comics didn’t altogether disappear, however and in 1957 James Warren filled the void left by the implosion of EC by publishing Famous Monsters of Filmland, edited by Forrest J. Ackerman. Printed as a black and white magazine Famous Monsters was not subject to the CCA oversight, and the format would persist with Warren adding more horror titles like Vampirella, Creepy and Eerie.

In 1969 Joe Orlando took over the editorial reigns of DC’s long running House of Mystery anthology series that had survived the Comics Code Authority by changing its format to more acceptable light mysteries and science fiction stories. Orlando took the series back to its horror roots with the full support of DC and the CCA relaxed its censorship standards. Two years later, using the CCA’s relaxed standards to full advantage, Len Wein and Bernie Wrightson debuted The Swamp Thing in House of Secrets #92.

The character proved popular enough to warrant his own series, and The Swamp Thing #1 debuted in 1972. Swamp Thing was rebooted in 1982 to capitalize on the Wes Craven film released that same year, and it has continued publication in one form or another to this day. In 1984 writer Alan Moore brought out Saga of the Swamp Thing #29 which had the distinction of being the first mainstream comic book published in decades without the CCA seal of approval. This trend continued with DC eventually tying most of their non code approved books into their Vertigo imprint.

Traditionally, The Comics Code Authority had governed the medium for decades with its own strict set of standards of taste and content. Comics that did not achieve the required standard would not be allowed to display the CCA badge on the cover and non-compliance often meant that retailers wouldn’t stock those titles. As time progressed, more and more creators railed against the censorship imposed by the CCA, and during the 1990’s upstart publisher Chaos! Comics openly mocked the CCA badge with their own skull faced “Chaos Approved” symbol to show that their output was deliberately not seeking to meet CCA approval. By 1999 most mainstream companies were publishing routinely without submitting to the CCA board and in 2011 DC, the last holdout finally dropped CCA submissions altogether, officially rendering the CCA defunct. Horror comics were free at last.

Comic Book Code Of Authority

Meanwhile after the violence in comic books, The CBCA (Comic Book Code Of Authority) took the action their hands to contain the violence to effect the minds of young readers. The Seal of Approval, once prominently displayed on comic book covers, quietly disappeared in 2011. For nearly 60 years, however, censors funded by the comic book industry enforced rules about acceptable content. Only comics that passed a pre-publication review carried the seal.

Designed to resemble a stamp, the seal bore the words “Approved by the Comics Code Authority,” which was the regulatory arm of the Comics Magazine Association of America. The trade association’s Comics Code Authority and its Seal of Approval were the publishers’ answer to their critics.

Comic Book Critics

Controversy over comic books surfaced shortly their debut in the 1930s. The first group to object to comics was educators, who saw comics as a bad influence on students’ reading abilities and literary tastes. They filled professional journals with suggestions on how to wean their pupils from superhero tales. Comic books also represented a threat to their authority – for the first time, children could select their own leisure reading material.
Church and civic groups added their members’ voices to protests. They objected to “immoral” content such as scantily clad women in jungle comics and the glorification of villains in crime comics. The Catholic Church’s National Office of Decent Literature added comics to the materials it evaluated.

In postwar America, a new focus on juvenile delinquency drew a third group into the debate over the effects of comics – mental health experts. Among them was Dr. Fredric Wertham, a noted New York City psychiatrist, who campaigned to ban the sales of comics to children. He argued that children imitated the actions of comic book characters and that the content desensitized children to violence.

Seduction of the Innocent

Wertham is often ridiculed as a failed social scientist whose studies of the effects of comics lack credibility, but that is an unfair characterization. His case against comics is actually built on his practice of social psychiatry, which examines social and cultural influences on behavior, including popular culture. However, in articles for popular magazines written by and about Wertham, the underpinnings of his work were left out in favor of anecdotes that Wertham realized would resonate more with the audience.
The best-known of the comic book critics, he advocated for comic book legislation by presenting his work in professional venues, by testifying at legislative hearings, and by publicizing his views in popular media. His efforts focused national attention on comics but resulted in no legislation. Discouraged, he wrote a book he hoped would raise public awareness about comics. He published Seduction of the Innocent in spring 1954.
Wertham’s renewed attack on comic books prompted the U.S. Senate Subcommittee on Juvenile Delinquency to begin its investigation of the effects of mass media with the comic book industry. Senators staged hearings in New York City on April 21-22 and June 4, 1954, calling a number of witnesses to testify.

Comic Book Regulation Today

The impact of the 1989 code eroded as comic books disappeared from the shelves of general retailers. Comic book specialty stores willingly carried comics without the Seal of Approval, and even members of the CMAA created imprints for the direct market, bypassing the review process.
Marvel struck a major blow to the viability of the CMAA’s self-regulatory code in 2001 when it withdrew from the Comics Code Authority in favor of an in-house rating system. By 2011, only two publishers printed the Seal of Approval on the cover of their comics, Archie and DC. DC comics announced in January 2011 it was dropping the Seal of Approval, and Archie soon followed.
Today, publishers regulate the content of their own comics. The demise of the Comics Code Authority and its symbol, the Seal of Approval, marks elimination of industry-wide self-regulation, against which there is little legal recourse. Now, the comic book community can answer its critics by invoking its First Amendment rights, assisted by the Comic Book Legal Defense Fund, whose mission is to protect those rights through legal referrals, representation, advice, assistance, and education.