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Living Up to the Type Legend noun: an extremely famous or notorious person, especially in a particular field The word “legend” probably evokes thoughts of larger-than-life figures or grand gestures. But sometimes, characters and individuals make lasting impressions and become legends for more down-to-earth reasons. Read the articles on this page and the next to learn more about some legendary heroes that originated from unlikely sources. As you progress through this lesson, answer the questions on the Living Up To the Type Worksheet. The answers to these questions are necessary for completing the quiz at the end of the lesson. Excerpt from "Fur flies at Kung Fu Panda premiere at Cannes" [Jack] Black provides the voice of Po, a panda in ancient China who idolizes his country's martial-arts heroes but is too slow and clumsy to emulate their moves, stuck instead toiling in his family's noodle shop. A twist of fate lands Po under the tutelage of a revered Kung Fu master, who must train the klutzy panda to battle an evil snow leopard intent on marauding and vengeance. Po's allies include a tiger, a viper, and a monkey, whose graceful martial-arts skills put the lumbering panda to shame. "There's a concept which everybody responds to, the idea of this sort of soft, cuddly thing having to do this extremely active, athletic thing," said John Stevenson, who co-directed Kung Fu Panda with Mark Osborne. "We saw the potential of this being the archetypal hero's journey that has been done millions of times, but we could actually do the most extreme hero's journey," Osborne said. "Take the most unlikely guy and bring him all the way to being a hero." As cartoon heroes go, Katzenberg thinks Po can go toe-to-toe with the animation world's box-office heavyweight, the irritable ogre Shrek. "I do think that Po the panda is going to give Shrek a run for his money because I think that Po in a very different way is without question the most lovable character we've ever created," Katzenberg said. "Shrek's an anti-hero hero. Po is an unlikely hero. He is more in tune with what we are ourselves. He actually has to find the hero within, and I think we all have a hero within us." "So it's just very relatable to find this kind of average guy who's working in his dad's noodle restaurant suddenly have an ambitious fantasy to be something great, only to learn that being the best version of yourself is greatness." Excerpt: "Big-screen superheroes include, dummy, recluse, and 2 drunks" Everyday human flaws are the Kryptonite of this year's movie good guys, who deign to suffer the same foibles as those who pay to see them. They may be reclusive, egotistical, or intellectually challenged. They may have anger issues or alcohol issues. Some are alienated and lonely. While the archetypal superhero always has a "weakness," this summer's super problems are more fit for the psychologist's couch than the villain's lair. Such shortcomings make heroes more relatable, says Marvel Comics master Stan Lee, creator of Spider-Man, the Hulk, Iron Man and the Fantastic Four, among sundry others. "If you can have a good guy who's got hang-ups and flaws and failings, he's more interesting because he not only has to defeat the villain, but he has to defeat and conquer his own flaws and inabilities," Lee says. "It rounds him out and makes the character empathetic." Flawed heroes are also a sign of the times, says Iron Man director Jon Favreau. "Complicated times demand for escapist entertainment," he says. "These characters are facing the same types of problems we are. They're a proxy for us." Iron Man, which opens Friday, stars Robert Downey Jr. as Tony Stark, a pompous, womanizing, hard-drinking genius whose superpowers come solely from a supercharged, weapons-filled suit he created from scratch. Without it, Stark is just another guy with issues—not much of a stretch for the actor who's a veteran of both big screen and blotter. After many nods to that effect throughout the film, Downey (as Stark) acknowledges at its conclusion that he's "not the hero type, with these character defects and all." Indiana Jones is another "real guy," says creator George Lucas. The archaeologist-adventurer played by Harrison Ford returns to theaters May 22 with Indiana Jones and the Kingdom of the Crystal Skull. "He makes lots of mistakes. He kind of goofs up. He has the same kind of thinking that we have," Lucas says. "It's like he's not a superhero. He's just an average Joe that's always in over his head that somehow seems to get through it." … Also due in July is The Dark Knight, with Christian Bale reprising his role as rich playboy Bruce Wayne and his alter-ego Batman—a character who remains traumatized by the murder of his parents and the vigilantism that turned him to crime-fighting. "He's a messed-up individual, as well. He's got all sorts of issues," Bale says. "He's just as twisted and messed-up as the villains he's fighting, and that's part of the beauty of the whole story." Often the problem with superheroes isn't that they're too human, but that they're not human enough, says Feige of Marvel Studios. "The risk is presenting your character as being two-dimensional," he says. "There's a risk in presenting them simply as an action figure. Presenting their flaws, presenting their humanity, that's how audiences identify with them and make their own emotional connection with them." … "Superman is conventionally and traditionally a Boy Scout, and that's often what makes him very difficult to relate with," he says. "We identify more with people who are broken, people who are damaged. Those are the heroes who stick with us, the ones who are imperfect despite all their gifts, because everyone feels imperfect." And when real life is so chaotic—with war, a faltering economy, fears of terrorism and a threatened environment—relatable superheroes are even more valuable, Favreau says. "It's an abstract version of what our fears are, presented in a safe way, and we can be saved by a superhuman character," he says. "People want to see that type of thing when times are hard." Echoes Goldsman: "The world is often troubling and we often look for heroes to save the day. If only." “In Superman and Christopher Reeve, different ideas of American heroes,”—Ted Anthony—Text Version Slide 1 NEW YORK (AP)—One could bend steel from the moment he arrived; the other insisted, over and over, that “nothing is impossible.” One took to the skies heroically and effortlessly; the other was grounded tragically, and battled to stand up again. The oddly intersecting worlds of an American myth and an American celebrity—Superman and the man who brought him to life for millions of people, Christopher Reeve—reveal how a nation consumed with creating fresh heroes finds its role models. Slide 2 “Christopher Reeve became a cultural icon himself,” said M. Thomas Inge, a popular culture historian and author of “Comics as Culture.” American heroes are usually rugged individuals linked to the Horatio Alger archetype—plain folks from humble, often rural beginnings who react gracefully to the hands they are dealt or achieve the impossible against the odds. But Superman was extraordinary from infancy, the survivor of a doomed world, and he didn't have to overcome any odds. His vulnerability wasn't self-doubt or human intransigence, but a glowing green rock. Slide 3 “What else is there left for Superman to do that hasn't been done?” Reeve said in 1983 after donning the cape for a third movie. But the actor who played the superhero would find a new purpose 12 years, a horse-riding accident and two fractured vertebrae later. In comic books, it's the Batmans and the Spider-Mans who adhere to the American citizen-soldier notion—reluctant superheroes pressed into service by the murder of parents or the happenstance bite of a radioactive insect. They're self-doubting and intense—but ultimately they prevail. Slide 4 Real American life has long coughed up similar, if less melodramatic, hero tales. Abe Lincoln emerged from the Kentucky woods determined to become a statesman. A frail, deaf kid named Thomas Edison willed himself into being a genius inventor. And in the media age, Pfc. Jessica Lynch, a small-town West Virginia girl, returned from her terrifying Iraq hostage ordeal to instant celebrity. It doesn't hurt their reputations if they perish before their time. “This thing of being a hero, about the main thing to it is to know when to die,” Will Rogers once said. Slide 5 Reeve fit that more common mold—someone who had to rebuild from the ground up, whose contributions are forever linked to the hand he was dealt and how he dealt with it. But shaking the backstory of pop-culture heroism that the Superman movies infused in him—“escaping the cape”—was never easy. “He didn't really have a choice of how he wanted to portray his ordeal,” said M.G. Dunn, a sociologist at Roanoke College in Virginia. Slide 6 “A lot of people would expect him to make the connection between someone who is playing a superhero and someone who has to deal with a superhuman tragedy,” Dunn said. “People are going to want to know how Superman feels in this situation.” It wasn't just Reeve's fighting back that captured imaginations, though. It was his unyielding, deeply stubborn attitude that the body could heal with the right therapy and treatment, that things deemed medically impossible could be achieved through force of will. Slide 7 Not everyone appreciated the approach—some said it raised patients' expectations cruelly—but the heroic flavor of his quest resonated. He didn't exactly discourage it, either, with his public advocacy, his paralysis foundation and his intense expressions of determination. “I want people to know that I kept at it,” he said in 1997. Slide 8 “Who is a hero?” author Peter H. Gibbon wonders in his 2002 book, “A Call to Heroism: Renewing America's Vision of Greatness.” To answer his question, he quotes a Russian proverb: “He who hangs on for one minute more.” That fits Superman throughout his seven-decade history. And, for the nine years until his death Monday, it fit Reeve, too. Question 1 (Essay Worth 15 points) (02.01) Why did Christopher Reeve wonder, "What else is there left for Superman to do that hasn't been done?" Include examples from the reading to support your conclusion. Question 2 (Essay Worth 15 points) (02.01) How does the proverbial Russian definition of a hero, "He who hangs on for one minute more," apply to Christopher Reeve? Include examples from the reading to support your conclusion. Question 3 (Essay Worth 20 points) (02.01) Even though Po and other flawed heroes are very different from traditional heroes, the articles in your lesson claim the flawed heroes are ones audiences can easily relate to. Explain why, according to the articles, audiences are able to connect with these types of characters. Question 4 (Essay Worth 15 points) (02.01) What makes Superman an example