#mark savage

[savageonwheels]

Savage picks the Top 10 Cars

What are my Top 10 Vehicles of the past year. Here are my annual Zoomie awards, plus links!

2023 Zoomies, the best vehicles of the past year … Zoomie goes all social media trendy this year whittling the 50 or so vehicles I’ve tested in the past year down to a dynamic Top 10. Eat your heart out Letterman*! What’s the Savage criteria for a Zoomie? Art: Stuart Carlson There’s no point system. These all come from the gut, and a wee bit of brain. They are the 10 vehicles I most enjoyed…

[moviesandmania]

KILL CRAFT Action thriller with Michael Paré and Bill Oberst Jr

‘She’s learning the family trade, and business is booming’ Kill Craft is a 2024 action thriller about the daughter of a hitman who follows in his career footsteps and begins killing for cash. Written, directed and co-produced by Mark Savage (12 to Midnight; Pond Scum; Hell’s Coming for You; Bring Him Back Dead; Painkiller; Sensitive New Age Killer, Defenceless: A Blood Symphony, Circus of Dread,…

[lizzygrantarchives]

BBC News, January 27, 2012

Lana Del Rey has been praised, sued and vilified – all before her album hits the shelves. But the US star says she's more concerned by the global financial crisis than her critics.

Last year, with almost no fanfare, a song called Video Games popped up on YouTube.

An achingly beautiful piano ballad by an unknown singer, it had been rejected by almost every record company that heard it.

The song was too long, they said, too melancholy. And it needed drums if it was to get any radio play.

Lana Del Rey didn't believe any of them. She persuaded a tiny independent label to release the song, and created the promo clip at home on her MacBook.

Twenty-two million views later, she's got a major label deal, a contract with Next Model management, and is about to release one of the most-anticipated albums of 2012.

So who is Lana Del Rey?

"It was G, C, A," she recalls, absent-mindedly stretching her fingers into the chord formations. "It was D minor, A minor and some diminished chord as well. Some trick, some shortcut.

"I realised I could probably write a million songs with those six chords – so I moved to New York and I took a couple of years to just write whatever I wanted."

She had an early stab at recording an album – 2008's Lizzy Grant aka Lana Del Ray – which was made for $10,000 (£6,000) with Paul McCartney and Regina Spektor's producer David Kahne.

But it was never formally released, popping up on iTunes for two months in 2010 before quietly disappearing.

"I had signed to an independent label but they couldn't fund the release of it," says Del Rey.

"People act like it's so shrouded in mystery, the 'forgotten terrible album'.

"But if you look on YouTube, all 13 tracks are available with millions of views, so it's not like no-one's heard them.

"We were all proud of it. It's pretty good."

The singer recently bought back the rights to the record, and says: "I'm re-releasing it, maybe in late summer."

Cinematic

Her major label debut, Born To Die, refines the formula set out on that early material.

A sweeping epic of doomed love affairs and bruised glamour, it could be the lost soundtrack to a film noir.

Del Rey's vocals have a cinematic quality, too. One minute, she's a breathy femme fatale; the next, a languorous, sultry diva: Marilyn Monroe and Marlene Dietrich competing for control of the microphone.

In person, however, the singer is more down-to-earth.

Softly-spoken and doe-eyed, she comes from a close-knit family. Her left hand is tattooed with a capital letter "M" for her grandmother, Madeleine.

And while her lyrics revel in seedy romance ("he loves me with every beat of his cocaine heart") they were largely inspired by a single, happy relationship.

The affair was so all-consuming that Del Rey "let go of my musical ambitions" and "settled" into a life of domesticity.

In Video Games, she is completely smitten: "He holds me in his big arms. Drunk and I am seeing stars. This is all I think of."

"People talk about me being an anti-feminist because of that song," the singer says.

"They think it's coming from a place of submissiveness. But in reality it was more about coming together and doing your own things happily in the same living space."

The relationship eventually ended but Del Rey doesn't mind revisiting the memories.

"You should honour love, even when it's lost," she says.

"I've been separated from various things and people in my life that I wanted to stay close to. By staying calm and being strong, I was honouring the memory of those things and those people.

"I'm proud of that, and I continue to do that."

Legal troubles

After Video Games became a break-out hit last October, Del Rey was snapped up in a joint UK/US deal by Polydor Records and Interscope – the latter of which is home to Lady Gaga and Madonna.

"I got sued over the video for Video Games," Del Rey explains. "That was a bad day. A million views and it got wiped out."

The video had been cut together from faded, vintage footage the singer found on YouTube. She had assumed it was free. It turned out to be a legal headache.

"So now I have a specialist who reaches out to get permission when I make a video."

But there are also disadvantages to working with two of the world's biggest record companies.

Some of the people who championed Del Rey early in her career have turned their backs on the singer, accusing her of selling out.

To them, authenticity and pop are separate sides in an inexplicable and unwinnable musical cold war.

They have attacked her professionally, accusing her of not writing her own songs, and personally, claiming she's had plastic surgery.

"My publicists, in their long career, say they have never seen someone be more fictionalised," sighs Del Rey.

But the singer insists she's unfazed by the criticism.

"I know what people say about me and I'm not really that concerned, because those kind of problems I'm not really interested in.

"I'm concerned about the potential collapse of the euro, the state of the global economy. We have serious problems.

"Of course I hope the record does really well but, regardless of how things end up turning out, I'm not concerned about my future. I'll be OK."

Originally published on bbc.com with the headline Love, the law, and Lana Del Rey.

Interview transcript

So, last week I met up with Lana Del Rey, who was coughing and spluttering after cancelling her gig at London's Koko venue the night before. Demure and softly-spoken, she was absolutely charming. More homebody than homewrecker, despite whatever impression you may have received from her lyrics.

Our chat formed the basis for a BBC profile piece, which was published over the weekend. But I thought you might like to see a fuller transcript. So here it is...

Can you remember the first time you thought "I can write a song?"

I didn't really start writing until I was 18 and my uncle sort-of taught me six basic chords on the guitar. I realised I could probably write a million songs with those six chords – so I moved to New York and I took a couple of years to just write whatever I wanted.

That's quite a late start.

It's really late.

Had you been creative in other ways before that?

Yes, in some ways. I don't know if I'd say it was my focus. I never really thought about writing my own music but I did like to sing.

Do you remember the chords your uncle taught you?

It was G, C, A. It was D minor, A minor and some diminished chord as well. Some trick, some shortcut. When I learned F, which I assumed would be easy, I was like "fuck". F was just never going to happen. Four fingers? Never going to happen. It's too hard.

There isn't much guitar on the album. When did you switch to piano?

I didn't switch because I don't really play piano – unless it's a Wurlitzer and I'm sort of just holding sustained chords. On my first record, I played guitar throughout most of it. With this one, I started working with this guy Justin Parker who's never really done anything in pop music. I just started freestyling over his sustained, melancholic chords. And that was how, really, the second evolution of my style began.

You said you were always a singer... Where did that start? Do you remember singing with your family when you were young?

I remember singing with my mom and with my dad. There were musical children's movies, like Mr World and Raffi.

In my house, my sisters loved Grease.

We loved Grease, me and my sister. [Sings Summer Nights] They're really beautiful, those songs.

The movies that inspire you now come from a slightly darker place.

It's not my fault that my inspirations are dark. I'm not a very dark person, but I find that most great works of art verge towards darkness. My favourite movie is The Godfather II – the settings alone are just so epic. The same with film noir. It's not the darkness I'm attracted to, it's the fact that it's so beautiful. Visually stunning.

I'm interested in the montages you've made for your music videos. The clips you use don't really bear any narrative relation to the lyrics, so what makes you choose them?

I think they must share an aesthetic, or a mood. When I go to Germany and France, people always ask me about the Hollywood imagery – but when I started putting the movies together, I wasn't necessarily looking for clips of Hollywood. I was looking for vintage film from the 50s. I liked the texture and the colours of those films.

It's funny, when I was putting the montages together at first and showing them to people, nobody seemed to get it. They thought it was a very weird juxtaposition, verging on creepy. It's strange now that people think that it's a really cohesive package, because for a long time it seemed like a really disjointed project that I was alone in believing in.

Where do you find all those film clips?

YouTube. I steal them! But I have a copyright specialist that I work with, so she reaches out to get permission now. Ever since I got sued.

Really? Over which one?

Video Games. That was a bad day. A million views and it got wiped out.

You've got more than 25 million streams on YouTube now. You must get royalty payments?

I don't think so. Why aren't you on my team, honey? Where the fuck have you been?

Those viewing figures must translate into some kind of material value. I mean, there are adverts streaming before two of them.

What's the story behind Video Games?

I've been coming to London for a long time now, off and on. But I'd been coming for about 14 months before I wrote that song. I found one of my musical soulmates, Justin Parker. I just sat down with him and said "I'm tired of trying to be good and be noticed. I just want to write whatever I want to write." And he said, "then just write whatever you want to write". And he played out some sustained piano chords, and I leaned back and started thinking about one of my favourite times.

I usually draw inspiration back from the same few moments in my life, and so I started thinking back to when I was really happy in this one relationship and had just let go of my musical ambitions and... settled.

I was always a wanderer. I never stayed in one place for very long. I never thought I'd have the luxury of loving someone and being loved. I always hoped that that would happen and when it did, it really was what they talked about in the movies.

Geek question: What was the video game he was playing?

It was World Of Warcraft. It's actually an all-consuming game.

Did you play it, too?

He... Well, he wouldn't let me.

What was his character?

I think he played as a monster. You can't really see the character when you're in the game.

What I love about that lyric is that songs don't usually talk about the bits of relationships where you're just slobbing around the house doing your own thing.

People talk about me being an anti-feminist because of that song. They think it's coming from a place of submissiveness. But in reality it was more about coming together happily and doing your own things happily in the same living space.

What would you say the theme of the album is?

You should honour love, even when it's lost.

Is the relationship from Video Games over now?

In the end, we couldn't be together. When I've been separated from various things and people in my life that I wanted to stay close to, I felt pride in not sabotaging myself with fear. By staying calm and being strong, I was honouring the memory of those things and those people. I'm proud of that, and I continue to do that – try and live gracefully.

How difficult do you find that now that you're in the public eye?

I've lived a really quiet life for the last decade and I don't see that changing. I have a really big life outside of music. I have a really big family, I have friends, I have other work and I have my studies that I've continued to pursue.

What were you studying?

Philosophy.

Does the fact that this album is doing so well when the first one disappeared without trace make you suspicious of success?

Well, why would that make me suspicious? I guess I'm always wary that beautiful things that happen to me aren't for real. Really great things are rare. But maybe sometimes they're genuine.

What exactly happened with the first album?

People act like it's so shrouded in mystery – "the forgotten terrible album". But if you look on YouTube all 13 tracks are available with millions of views. So it's not like no-one's heard them. I was the only one signed to that independent label. They gave me $10,000 and I made a record but they couldn't fund the release of it. It's not like it was bad. We were all proud of it. It's pretty good.

Would you consider buying the rights back?

I already have the rights. I bought the rights upon my exit. I'm re-releasing it, maybe in late summer.

A lot of people have claimed you "re-invented" yourself after that record failed – but it's actually called Lizzy Grant aka Lana Del Ray [sic].

Exactly! It was never really a shift in persona, it was just the name of the music I was making. The name of the project. They're not even separate personas.

People don't spend a lot of time criticising Florence Welch because she doesn't have a machine.

[Almighty laugh] The way I've lived my life is so straightforward, it's ridiculous. I've been so clear and upfront about everything but most articles I see... My publicists, in their long career, say they have never seen someone be more fictionalised.

I know what people say about me and I'm not really that concerned, because those kind of problems I'm not really interested in. I'm concerned about the potential collapse of the euro, the state of the global economy. We have serious problems. Of course I hope the record does really well but, regardless of how things end up turning out, I'm not concerned about my future. I'll be OK.

Originally published on discopop.co.uk on January 31, 2012.

[marvelman901]

Sabretooth!

1st slide is by Jim Lee.

2nd slide is by the Hildebrandt brothers.

3rd slide is by Dimitri Patelis.

4th slide is by Mark Texeira.

5th slide is by Michael Bair.

6th slide is by Joe Jusko.

#sabretooth #xmen #90s #joejusko #hildebrant #jimlee #dimitripatelis #marktexeira #michaelbair

[foreverdolly]

IM OBSESSED WITH YOUR FEYD FIC, ITS SO GOOD DOLLY 😭 i was actually looking for a fic where feyd's personality wouldn't change THAT much but at the same time, he wouldn't be an absolute freak, who harrasses the reader. and your fic is the perfect combination of both! can't wait for the next chapters whenever you'll be able to write more <333

one of the main things i’m worried about is changing feyd’s personality too much. i want the dialog and mannerisms to read as “canon” as humanely possible given the unlikely circumstances i’ve placed him in. genuinely this means so so much to me, so thank you from the bottom of my heart!

don’t get me wrong though, feyd is definitely a freak in this fic. things get freaky and smutty from here on. he has very animalistic tendencies, hence why the crew made the stylistic choices that they did in dune part two. so i’m playing into that a lot with my rendition of him!

he’s crazy territorial and wants his woman to smell like him at all times- which is a trope that is highlighted in this next chapter. i hope you don’t mind him being a freak too much ;)

[the2dstagesfg]

“King of the Monsters” from Neo Geo Battle Coliseum (SNK Playmore/2005)

[graciereadshannigram]

Five Star Fics: Hannigram Edition

hey fam, welcome to the inaugural roundup of the best hannigram fics i've read this past month! i read over 60 fics total, and these were the cream of the crop.

the ingredients for a five star rating typically (but not always!!) include some combination of a.) believable characterizations of both Hannibal and Will, b.) compelling plot and/or character arcs, and c.) high quality smut.

that being said, my judgment of the aforementioned ingredients is powered almost exclusively by vibes and as such, is incredibly subjective.

in no particular order, let's go!

~

Title: Veins As Fine As Rabbit Hair Author: lovetincture Word Count: 42,953 Summary: After their fall, the little yellow house Hannibal brings them to is a charmed space. It’s easy to forget there, when Will is in the mood for forgetting. In the Pennsylvanian woods, it’s easy as breathing to ignore the life he left behind. Simple to pretend they’re the last men on earth. Molly and Jack, the murder victims and the FBI seem farther away in the sea of tall, sweet grass—an echo from someone else’s dreams. That’s their life now: Will wants to forget, and Hannibal wants to let him. But reality has a way of asserting itself. No one can ignore it forever.

This was absolutely beautiful. And tender. And sweet. This is probably my favorite post-fall fic. I just get Will and love how they figure out their dynamic together. Definitely hit me right in the gut, but in a very very good way.

Title: Peccavi Author: Yggdrastiles (yoingle) Word Count: 30,067 Summary: After a terrifyingly vivid dream, Will realizes that he's going to need to pick a course of action, and the one he picks no longer involves betraying Hannibal. He knows he'll have to confess because if Hannibal were to discover the original plan on his own, it would tear them apart, and Will's not planning on letting him go anytime soon.

I'm a slut for a well-executed daddy kink, what can I say? Long enough to get really invested in the characters and top-notch smut. Nothing more to say here, folks!

Title: Demonstration Author: HotMolasses Word Count: 11,660 Summary: Will goes to a heat clinic a few days before he is due, to determine whether he wants to use the facility. But then he finds himself blindly following the scent of a delicious Alpha. Before he knows what's happening, he finds himself naked, bound, and gagged on an examination table that is being prepared for a medical demonstration, given by Dr. Lecter to a room full of students on how to properly treat an omega during heat. At first he is mortified, but Dr. Lecter's treatment soon has him enjoying himself to the point of begging for more.

This got five stars purely for the SCORCHING smut. If you're into the omegaverse and also enjoy exhibitionism, you'll enjoy this!

Title: Paragon Author: BloodyWar2411 Word Count: 552,462 Summary: When Hannibal met Will Graham (the man who had, three years prior, been mistaken for the Chesapeake Ripper), he expected amusement. What he got was his first taste of obsession. Dark and bitter in the back of his throat but achingly sweet on the tongue. He knew at once that this feeling, this Man, would consume him. And Hannibal would consume Will right back.

Need I say anything? I still don't have words for how much I loved this fic. The plot was excellent, well-paced, and I loved the characterization of Matthew so much! Bonus points awarded for making me truly understand the appeal of primal play.

Title: Realignment Author: HigherMagic Word Count: 23,120 Summary: Hannibal has a daddy kink. This was easy enough when he was younger - plenty of men were eager to take a pretty-faced, arrogant youth in hand. But as he got older, people started to see him differently, even though his own tastes and kinks never changed. He started to attract men who expected him to take the lead, and it just felt awkward to try and broach the subject. Then he met Will Graham.

As I said, I can't resist a well-executed daddy kink, but I was surprised to find out how much I enjoyed Hannibal calling Will daddy.

Title: Mark Me Not A Savage Author: KatherineKrawl Word Count: 401,953 Summary: When Will opens Hannibal's letter, it wakes something primal locked inside of him. He doesn't understand it, but what he does know is that he has to go to Baltimore hospital for the criminally insane, and he has to go now. Dear Will. He could still see the words, written in the curly elegance of Hannibal's hand, burning behind his eyelids. He breathed deeply through his nose to try and calm the unsteady flutter of his heart. A deep breath. One that clawed at his nose, one that penetrated his nostrils like a liquid, a smothering sting he felt intruding behind his eyes. One. Deep. Breath. And then it took him.

An INCREDIBLE omegaverse fic that convinced me hannigram was made for ABO dynamics. Not only was the smut incredible, but the author brilliantly incorporated their canonical mind melding and retooled it for the omegaverse. I think I also set a new reading record by reading this in under 48 hours.

Title: Kindling Author: gleamingandwholeanddeadly (something_safe) Word Count: 10,281 Summary: “You should take a date to your fundraiser." “Yes, perhaps you’re right. It would be improper to invite someone under false pretence, mind, and for my patient to understand, the evidence would need to be… compelling.” “Perhaps an ex-girlfriend,” Will says, unsure why the thought makes him feel flat and remote. “That would be incredibly inappropriate.” “A friend then. Someone you can explain the problem to. You could take-” “You,” Hannibal interjects. The words belly-flop into silence. Will’s mouth opens, and then closes, and then opens again. When Franklyn's advances of friendship become too much for even Hannibal to politely ignore, he enlists Will's help.

Another favorite trope: fake dating. This fic just had me giggling and smiling the entire time and I loved it. I feel moderately bad for Franklyn as a character and yet... I love when Hannibal and Will flaunt their relationship in front of him. Sue me.

Title: Nothing For It... Author: phenobarbital Word Count: 11,360 Summary: ...not thinking to consult Hannibal on the matter, Will went ahead with venting his anger and he thudded the headboard against the wall again, before pressing his lips together and letting out a loud humming moan, which he trailed off into an ‘aaah’ sound as he parted his lips. He didn’t even glance behind him, totally missing the startled and intrigued look on Hannibal’s face as he made another humming moan and thudded the headboard lightly again.

GOOD GRIEF. This fic left me UNWELL. In the best possible way. We love making homophobes uncomfortable, and if it leads to accidentally having sex? Oh noooo. Also, Beverly makes an appearance at the very end and she's great. Love her.

Title: Transcendent Suffering Author: itsbeautiful Word Count: 484,659 Summary: Blue eyes closed suddenly against Hannibal’s searching gaze, sucking in a breath, body going rigid. “You can’t say things like that to me, Hannibal. You cannot glorify the dark impulses inside of me and call them… beautiful.” Will stared up at the ceiling, head thrown back as if struggling to breathe, fragile and bending against the sound of his voice. “You can’t. You just can’t say them.” “Only the celestial moon and I have truly seen you bathed in blood, savoring the darkness, embracing your becoming, and I can assure you it was truly breathtaking.”

I can't remember the last time I read a fic that was as deeply gut-wrenching as this one. I cried. Multiple times. If you like incredibly well done, character-driven stories, this is IT. And the author also wrote some of the most romantic stuff I've ever read, ever. I will be processing this fic for the foreseeable future.

Title: Love Is What You Make It – A two part series! Author: orphaned on ao3 Word Count: 181,771 (both parts combined) Summary: Will and Hannibal make their way to Hannibal's safe house in New Hampshire a couple days after their plunge off the cliff and plot their next move, Will coming to terms with the fact that he is committed to it this time.

A twofer!! And oh my god this was TENDER. I am a sucker for fics that really explore Will and Hannibal's emotional journey post-fall and I think this did an incredible job of realistically portraying that, while still being indulgent. The first fic is very character-driven, and the second part is more plot-heavy. Both are so good! I found myself actively taking breaks just to make it last longer.

And lastly, the honorable mention(s)!

Title: Hannigram: Cuts Unscene -- Season 1 Author: DBMars Word Count: 71,097 Summary: Cuts Unscene is a Hannigram fanfiction challenge – to write one scene for each episode of the series where Will and Hannibal have some kind of intimate interaction that builds their romantic connection. These stories operate on the concept that they were scenes cut from the original episodes, and the attempt is to make them fit into the plot in ways that are as plausible as possible while still having a good ol’ time writing them. The devil is in the details!

Okay WOW, this is the first of four (one per season, and then an imagined season 4), and I am so deeply impressed with how the author made these truly feel like cut scenes from the actual show. The only reason I'm not giving a full five stars is because I want to actually rewatch a couple episodes and pause to read some of the cut scenes to really assess how well they fit into the overall plot. I'll hopefully have an update on this at some point in the future!

~

And that's all she wrote, folks! Feel free to let me know what y'all are reading and what I should read next :)

[littlemagicalstardust]

Kyle O'Reilly tried the drink and also got super fired up!

[tweetingukpolitics]

[savageonwheels]

Zoomie: 29 years of choice cars

Zoomie season is here because Car Show season is here, in Milwaukee. See WUWM.com for my top cars, or watch this site later this week.

Savage’s top vehicles since 1990, the hits and misses …. My annual Zoomie Car of the Year awards just debuted on WUWM.com yesterday and will appear here on Wednesday. But if you want to check my track record, here are my past 29 choices. I missed a few years when the Milwaukee Journal Sentinel stopped running locally written car reviews. Consider my picks, and remember styling and value are…

[maxwell-grant]

Could I hear more of your thoughts on Doc Savage and the archetype he created? How does it relate to modern superheroes more specifically Reed Richards? (I know that you dislike Doc Savage, so sorry if this bothers you.)

Sorta like this, if we take a look at how Doc's archetype was formed and consolidated, and how that affected the Superheroes and Reed Richards specifically. (also please don't apologize, you all can ask me questions about whatever, seriously)

"Doc Savage" is recognizable in lots of other characters but there is a difference between specific pastiches or tributes or parodies of Doc (Doc Samson, Edison Rex, Jonas Venture), and characters who are evoking Doc Savage as his own archetype to draw initial inspiration from (Tom Strong, Bane, Clark Kent), and if we pull at Doc's roots we're gonna get to prior characters like Tarzan and Sherlock who were the ones to introduce or codify much of what are now commonplace superhero traits or the ones to introduce much of what Doc was originally pulling from.

I wanna draw some lines in the sand separating what is it that these characters brought to the table, in the road to get to Reed Richards and what exactly is it that Reed and Doc have in common vs things they have that are mainly taken from characters before them/grandfathered in their respective mediums. So let's go over the Archetypes here:

The Sci-Fi Superman: Coined by Peter Coogan. Through some strange birth or scientific intervention, these characters have superhuman powers and abilities that set them irrevocably apart from humanity, nearly forcing them to usually fall into the roles of saviors, rulers, destroyers, or ostracized/self-imposed hermits. Unless they find a purpose requiring said abilites, they cannot be permitted to exist and usually meet a tragic demise or is stripped of said power. Formative example is The Creature from Frankenstein (Mary Shelley), and others include Hugo Danner from Gladiator (Phillip Wylie) and Bill Dunn from The Reign of The Superman (Jerry Siegel). Coogan considers John Carter the first wholly positive and heroic SF superman, which is disputable, but more on Carter later.

Pulp Ubermensch: The Great Man turned do-gooding adventurer with a prosocial agenda. A human who is physically, mentally, and/or morally superior to those around him as a result of training/upbringing, skilled at everything the story requires him to, who applies his talents and abilities near-exclusively to fight evil. Formative example is Nick Carter (created by John R. Coryell and penned by Frederick Van Rensselaer Dey), who established much of what would eventually become pulp hero and superhero convention consequently.

The Great Adventurer: I'm naming these as a counterpoint to The Great Detective, the fantastical globetrotting adventurer/explorer hero who can go anywhere and do anything, who takes to the world as the detective takes to the city. The idea of a wealthy, offbeat, yet good-natured pulp hero who goes around righting wrongs with like-minded assistants. Formative example here is Rocambole (Ponson du Terrail), in most ways a definitive early Pulp Ubermensch, and arguably the first proto-superhero to assemble a gang of odd companions with a variety of talents and backgrounds to aid him, which is what both the Fabulous Five and the Fantastic Four can trace roots back to.

Pulp Supermen: Offshoots of the Sci-Fi Superman as adventure protagonists in serialized stories, where their superhuman natures and status are alleviated and redirected by the need of their capabilities somewhere or in service of something, and thus they get around the ruler/savior/destroyer fate by being heroes with a social calling akin to the Pulp Ubermensch, dedicated to use their powers near-exclusively to fight injustice without rocking the boat of society by their presence (or if necessary, assert dominion ONLY in a setting outside of human society, such as the jungle or Martian civilization). Distinguished from the Pulp Ubermensch by their greater larger-than-life explicitly superhuman abilities, that they don't need to be morally/mentally superior to the extent of a Pulp Ubermensch, and by the fantastical settings and tone of their adventures. Formative examples are John Carter of Mars and Tarzan of the Apes (both created by Edgar Rice Burroughs), with Tarzan quoted by Lester Dent as a specific influence on Doc (there are others but we're skipping most of those not relevant here)

The Science Adventurer: A frequently-used name to describe Doc Savage and Doc Savage-alikes. Doc Savage can be described, in archetype word salad terms, as a Pulp Superman who calls upon the Pulp Ubermensch's great man-ness and urban social calling, and who combines a Sci-Fi Superman origin and physical traits with The Great Adventurer's explorer disposition, righteousness and band of companions. The main thing that sets him apart from the characters listed prior is his focus on scientific prowess, technology, reasoning and polymathic skills, the importance of the "Doc" part of his name as it where.

The Superhero: you already know what these are and how they relate to the above. I've written a couple of things about the differences between pulp heroes and superheroes and it's a subject I'm of constantly mixed opinions on even regarding stuff I wrote, so I'm linking these two written a year apart if you want an idea of where those differences are.

And so we get to Reed, who I'm naming a Science-Adventurer Superhero as a merger of the last two. Both Stan Lee and Jack Kirby mentioned several times that they read Doc Savage aplenty during the Depression and it shows in elements such as the Baxter Building (an expansion of Doc's headquarters in the Empire State Building - instead of just the 86th floor, The Four get the entire skyscraper), the specialized aircraft and vehicles, the fights and antagonism between the cantankerous and anti-social Ben Grimm and the smart-mouthed Johnny Storm mirroring the bickering spats between the bestial Monk and the silver-tongued Ham, and of course Beast from X-Men being more closeled modeled on Monk's ape-ish traits and scientific expertise (there's a fairly large argument to be made, that I think accounts for some of why Beast is, like that, in recent comics, that Ben Grimm and Hank McCoy both divided Monk Mayfair's every trait between themselves and ultimately flipped the script in the long run before taking it to the farthest extremes possible as polarized opposites of each other, with Ben initially getting most of the bad parts and making them the best ones, and Hank initially getting all the good ones and making them into the worst ones)

As far as I know, Reed Richards was not consciously modeled after Doc Savage (although Jack Kirby and Joe Simon's Private Strong used the origin story of a professor raising his son in a lab to be perfect in total isolation of other humans, which Lester likely may have pulled from Phillip Wylie's The Savage Gentleman to begin with), although it's commonly said that the direct precursors of the Four, the Challengers of the Unknown, were modeled after Doc Savage and the Fabulous Five's make-up. The members of the Fantastic Four are all based on 50s sci-fi archetypes, with Reed as the quintessential scientist, the grey-templed pipe-smoking patriarch frontman of the expeditions, and some creators over the years seem to have drawn upon Doc Savage as a model Reed. I'm thinking specifically of Mark Waid here, who openly named Doc Savage in his pitch bible:

The eternal problem with Scientifically Inclined Genius Adventures, the reason they don't ring true, is because in real life scientists spend all their damn time in the lab. Not Reed.

F'r pete's sake, we know he undertook all sorts of Indiana Jones missions as a younger man, we've seen that he actively enlisted in a war, and oh yeah, he stole a rocketship and tried to take it to the moon."

Tommy B put his finger on it when he suggested I stop thinking of Reed as the Professor from Gilligan's Island and instead think of him more like Doc Savage. When Reed encounters mental or logistic obstacles in his quest for knowledge, he thinks through them.

Doc Savage, of course, isn't the perfect model - he's a little more blood-and-gristle than Reed, more invested in the search for justice than for knowledge, and a little more "in the moment" as a general rule. Reed's more like Peter Weller as Buckaroo Banzai, they have the same aloof, detached nature. Unless active danger is staring him right in the face, Reed often seems a bit distant and not completely here because his mind is ten minutes in the future.

That addresses the Science-Adventurer aspect, which leaves us with the Superhero side of the equation.

With Doc Savage you of course have one of the, if not the, main archetypal pulp heroes, a character that both Superman and Batman would take a great deal from, and "pulp hero" in itself is a term that exists to define these characters more so in relation to superheroes than what they were actually like in their own stories, time periods and mediums. The superhero as a concept is founded on Superman and Batman and their dychotomy. Costumed Avenger vs Ubermensch, mortal and immortal, light and dark, Dayman and Nightman (AHH-ahhh-AAHHHHH!), and that dynamic is specifically a result of Superman and Batman being direct descendants from Doc Savage and The Shadow respectively, who were Street & Smith's (and by extension the American pulps) Big Two, the top dogs of 1930s hero pulps, and direct opposites to each other.

Doc Savage was created in response to The Phantom Detective (who was the first successful Shadow imitator and thus defined it as the thing everyone was gonna have to do or respond to) and was in many ways a modernized revamp-almost-copy of Street & Smith's Nick Carter during his heyday, in origin and first case and super strength and omnicapable skills and general Great Man-ness and gadgetry and mission statement and so on. Doc was co-created by the editor of Nick Carter Magazine, John Nanovic, and the first response to the Phantom Detective that S&S planned was a reboot of Nick Carter as a generic hardboiled detective, published on March 1933, the same month as Doc's debut, and obviously Doc would go on to achieve much greater success and thus would popularize those traits again with himself as the figurehead archetype of them (not unlike what Superman and Batman would later do).

Unlike The Shadow, Doc Savage does not operate under a secret identity or mask. He is not the hidden master of the city and has no division between his alter egos, and because he performs in broad daylight as a celebrity, is theorically held to social scrutiny, and is fully sanctioned and approved by law enforcement and works with the authorities with public transparency (minus the crime college but let's just, not, for now), it greatly upends and affects the approach he takes to fighting crime. He only has one identity, the greatest man of all time as the stories will remind you at every turn, by his author's own words he "manifests Christliness", and while not much separates Doc Savage's skills from Nick Carter's, he is explicitly and textually framed as superhuman (even a "superman", that term was deployed a few times), and he operates in a contemporary, urban setting that most Pulp Supermen cannot touch without veering into Sci-Fi Superman territory.

Within the hero pulp format that S&S started with Nick Carter and renewed with The Shadow, with the scientific explorer angle, you could argue Doc Savage, in almost exactly the same way as he does in his stories, worked out the solution to an unfixable problem: Turns out you can be as over-the-top super as you want, so long as you have a procession of equivalent super menaces to fight, don't upset society (and if you do it, not where the public where can see, keep it a secret that you can be blackmailed over by crooks you will inevitably silence okay look I'll stop now), have whatever incredible miracle cures and achievements and charity you do work on take place off screen where you never have to deal with them too seriously, and know how to pick your fights.

His service to others resolves the ruler/savior/destroyer conundrum. Savage aids individuals who face problems beyond their control, does great work in advancing medicine and science, and alleviates suffering through charity work, but he leaves the institutions of society in place.

He faces a never-ending succession of villains threatening society, an eternal frontier of gangsters and super-scientific menaces who play the role that Indians take in frontier narratives. The unresolvable nature of crime makes this frontier eternal, so Savage can place his superiority in service to the community and never risk turning into a ruler, savior, or destroyer because he can find challenges sufficient to absorb his energies.

The Savage solution—the hero position would be adopted by the creators of other prosocial supermen to come, including Superman, although only the adventures of Superman would be set in contemporary America.

Thus instead of marking an end to the bourgeois domination of society, as Nietzsche foresaw, the superman serves to protect that domination through myth-narratives. - Superhero: The Secret Origin of a Genre, by Peter Coogan

Reed Richards, in turn, is defined (INCORRECTLY, I say, feeling a plasma crackle barely miss my skull) as the smartest man on the planet, a mental superhuman who operates on a level above and beyond that of everyone around him, and a freak accident during a space travel grants him physical superhumanity to match, with his body able to morph and bend under his will. He alleviates the ruler/savior/destroyer conundrum Coogan described in much of the exact same way described above, kept busy with an endless procession of strange dimensions and aliens and supervillain challenges, and Mark Waid's famous confession scene in Fantastic Four #489 addresses the fate that looms over the Sci-Fi Superman directly, with the "very arrogant man who did something very stupid" pointificating to his toddler child just how necessary it was to ensure that the world would not fear and destroy the people he'd irreversibly mutated as a result of hubris, what is even the point of his grandstanding title and colorful outfit and public adventures and all that.

The life of superpowered adventurer celebrities was a necessity, and his superhero persona, Mr Fantastic, is a tabloid-catching act of penitence to mask his ultimate shame and to compensate the people he loves most. He lives for science, he craves discovery above all, but as far back as the Lee/Kirby stories, he still drags the team into awful intrusive press conferences none of them want to go but must, he sits through meetings with hardass generals to buy his team more leeway and trust, he takes the time to stretch across the city to visit sick children in hospitals and say hello to passing helicopters, he has to be the stick-in-the-mud dad who stretches himself thin to keep Johnny and Ben from ditching the team or seriously hurting each other (those first Johnny and Ben spats get way more violent than you'd expect), and he has to make difficult and even manipulative and harsh decisions even then to save the most lives he can. He carries a responsability to his family and loved ones first and foremost, and fashioning himself and them into superheroes is how he lives up to that responsability. It's what allows them to exist and thrive in-universe as much as out of it.

(We're not gonna play catch-up to the "why doesn't Reed Richards cure cancer" conversation but even that, in itself, is an extension of a thread that we can trace back to Doc and the Sci-Fi Supermen before him, when seams in the fantasy start showing with the introduction of consequence, a trend that particularly catches up to these scientist superhero characters who followed in Doc Savage's wake, and obviously caught up to Doc himself several times by now, for reasons @artbyblastweave describes as "a consequence of contemporary writers being Allowed To Notice And Unpack Things" and elaborates on very neatly here)

As a superhero, Reed Richards exists in conversation with Superman and Batman, same as every other character within the superhero "genre", which means he also exists in conversation with those traits borrowed from Doc Savage, and The Shadow, and all these other guys listed who were crucial in their development and a lot of others I'm leaving out of the conversation for now. A crucial part of that conversation and where the Fantastic Four figure into it is the fact that they were designed to not be traditional superheroes but to flip most if not all the conventions established on it's head, a part of that being their initial lack of uniforms (and when they did get uniforms they were just that, uniforms, rather than costumes), the lack of a secret identity, and the fact that the Four are scientists and explorers first, and crimefighting superheroes a distant second they're forced to frequently make a close second or first priority. Marvel made it's big defining pop culture splash with the Fantastic Four by turning superhero convention on it's head and doing as much as they could to do the opposite of what Brand Echh was doing.

And that's kinda the main reason they end up inviting similarities with Doc Savage and other pulp heroes, because they're going out of their way to imitate and subvert traits and tropes that Superman and Batman were already imitating and subverting from those guys in the first place, that they in turn were imitating and subverting from guys that came before them, and etc.

Archetypes are breakthroughs, and no breakthrough happens in a vacuum. In the end, a lot of these strands and connections between these characters are less specifically the result of writers consciously following in the footsteps of Doc Savage and those that came before or alongside him, and more so with the fact that there's only so many left turns you can take before you just end up in a circle, or reinventing the wheel as it were.

[driveintheaterofthemind]

Shadow Comics #01 (Mar1940) / Doc Savage Comics (May1940)

Street And Smith

[could-they-be-a-pro-wrestler]

[haveyouseenthisseries-poll]

[wwprice1]

Awesome X-Title covers for September. By Ryan Stegman, Mark Brooks, Russell Dauterman, and Alan Davis!

[halfdent]

How Harvey should have been after having people put shit in his brain and /or try to look inside it constantly , including his best friend who performed brain surgery without his consent ; maybe Two-Face has a point

At least Bruce apologised to Two-Face that was very sweet thank you very cool .