Green Lantern Research Articles

A Green Lantern for the Surgeon: A Review on the Use of Indocyanine Green (ICG) in Minimally Invasive Surgery.

Indocyanine green (ICG) fluorescence imaging has revolutionized surgical practice across various medical and surgical specialties. This article reviews the clinical applications of ICG in abdominal, urological, thoracic, and gynecological surgery. ICG fluorescence imaging has been widely adopted in general surgery for various applications, including perfusion assessment, intraoperative visualization of the ureter, and tumor localization. It is particularly valuable in evaluating anastomotic leaks and aiding in precise tumor resection during minimally invasive surgeries. Studies have shown mixed results on its effectiveness in reducing anastomotic leak rates, highlighting the need for further research. In thoracic surgery, ICG facilitates the identification and resection of pulmonary bullae, as well as the precise localization of pulmonary nodules during video-assisted surgery. In urology, ICG aids in localizing renal tumors and guiding selective arterial occlusion during partial nephrectomy. Its role in identifying the lymphatic pathway in prostate cancer and sentinel lymph node biopsy in gynecological cancer is also discussed. Despite its benefits, the use of ICG fluorescence faces challenges such as limited tissue penetration, the potential for false results, a lack of standardized protocols, and high equipment costs. Nonetheless, it remains a powerful tool that could improve surgical outcomes.

“To me, Superman is the living antithesis to the adage that absolute power corrupts absolutely”: an interview with Phillip Kennedy Johnson

ABSTRACT In September 2023, as part of the Superman’s Cleveland: Lineage and Legacy programme honouring Superman’s 85th anniversary, Phillip Kennedy Johnson was interviewed live at Literary Cleveland’s Inkubator Conference. During the interview, Johnson shared his thoughts on Superman, what it means to shepherd a character with such a legacy and reflected on his run on Action Comics. He shared stories about his break into comics, gave insight into his writing process, and offered advice on working collaboratively in comics and how that process works. Johnson, who is also a trumpet player, spoke about the connection between comics and music. Finally, Johnson answered audience questions about Superman, the character of Clark Kent, and how he thinks about writing the Green Lantern, John Stewart.

Who is Asking?: Afro-Arthurian Legend-making in N.K. Jemisin's Far Sector

Abstract: Whether an Arthurian knight, a Green Lantern, or a Legendborn, one cannot have a legacy without first becoming a legend. In N.K. Jemisin's graphic novel Far Sector (2020) Sojourner 'Jo' Muellein's story as both community activist and guardian echoes, reinvents, and reimagines Arthurian romances through the lens of Afrofuturism; further, this fantastical remix challenges white supremacist modes of oppressive comic tradition by foregrounding racial and gendered identities. Making a legend is not about whom society has agreed to be the answer. Instead, such ideals lie with whoever asks the question. (DCN)

Fishing in the Gulf of Mexico in the Nineteenth Century: An Historical Overview and the Likely Context of Two Deep-Water Shipwrecks

The Gulf of Mexico emerged as an American fishing frontier in the nineteenth century. Maritime activities expanded and matured in terms of technology, scope, and scale. This activity left a substantial archaeological record on the seabed in the Gulf. Two deep-water shipwrecks offer archaeologically well-preserved, essentially undisturbed opportunities to assess vessels likely engaged in the fishing industry in and around the Gulf in the nineteenth century: the 7000-Foot Wreck (c. 1890–1920), and the Green Lantern Wreck (c. 1890–1920). These two deep-water wreck sites are significant for their presumed archaeological integrity as sites associated with a type of vessel and trade not often studied archaeologically, and are worthy of further work.

"The Eager Arab Astronaut": Fantasies of (Superheroic) Flight in the Lebanese Diasporic Imagination

Abstract: This essay puts into conversation two texts that negotiate the fantasy of space, flight, and Arab identity, specifically focused on the Lebanese diaspora: A. Naji Bakhti's debut novel Between Beirut and the Moon (2020) and superhero comics about the Lebanese American Green Lantern Simon Baz (2012–2021). Drawing on a history of how aerial surveys and perspectives inflicted the modernizing logic of empires in Lebanon, this essay argues that the visual modalities of empire are reinscribed in these texts' fantasies of flight. In Between Beirut and the Moon , Adam dreams of becoming an astronaut and flying to the moon, a fantasy itself deeply entrenched and complicated by the logics of empire. In Green Lantern (2011–2016) and Green Lanterns (2016–2018), Simon Baz offers a complicated fulfillment of Adam's childhood fantasy as the "first Arab astronaut." Ultimately, while Simon's superpowers suggest the limitless, liberatory possibility of flight in the Lebanese imagination, in practice they reinforce many of the same restrictions that limit Adam's dream and necessitate his departure to England.

The Future Is Eugène

The Future Is Eugène

Talking Comics with Ulli Lust, Noah Van Sciver, John Arne Sæterøy, Ivan Brunetti, and Grant Morrison

ABSTRACT This article presents conversation(s) about comics in relation to craft and process, inspiration and influences, status and prestige, publishers, literature, culture, life and creativity with Ulli Lust (Today is the Last Day of the Rest of Your Life, Voices in the Dark, How I Tried To Be A Good Person), Noah Van Sciver (Fante Bukowski, Grateful Dead: Origins, Disquiet, Please Don’t Step On My JNCO Jeans, One Dirty Tree, Blammo, Saint Cole, More Mundane, Constant Companion, 1999, The Hypo: The Melancholic Young Lincoln), John Arne Sæterøy (who publishes under the pen name Jason) (What I Did, Almost Silent, Why Are You Doing This?, I Killed Adolph Hitler, Lost Cat, If You Steal, On the Camino, O Josephine!), Ivan Brunetti (Schizo, Misery Loves Comedy, Cartooning: Philosophy and Practice), and Grant Morrison (Zenith, Doom Patrol, Animal Man, The Invisibles, Arkham Asylum: A Serious House on Serious Earth, Flex Mentallo, The Filth, Seaguy, Kill Your Boyfriend, We3, New X-Men, Vimanarama, JLA, Batman, Seven Soldiers, All-Star Superman, Nameless, The Multiversity, Annihilator, Klaus, The Green Lantern, Wonder Woman: Earth One).

Representations of Islam in United States Comics, 1880–1922 by Maryanne A. Rhett

Reviewed by: Representations of Islam in United States Comics, 1880–1922 by Maryanne A. Rhett A. David Lewis (bio) Maryanne A. Rhett. Representations of Islam in United States Comics, 1880–1922. Bloomsbury, 2019. 200 pp, $114. In his groundbreaking Unflattening, Nick Sousanis identifies the fragmentation and territoriality that comes with most specialization. An antagonism arises as a result of finer and finer expertise in both professional and academic fields. "Distinct territories were drawn up, /delineating provinces of exclusion /claims staked /areas carved out /fields defined. /Walled off within isolated domains, /communication across boundaries was stifled. /They kept to themselves, pursuing separate paths to understanding."1 Given that comics are a medium of communication both requiring and encouraging an interplay between word and image as well as segmented unit to the next, it is especially appropriate that they be used in reunifying or integrating various spheres with one and another. "As the coming together of two eyes produces stereoscopic vision /outlooks held in mutual orbits, /coupled, /their interplay /and overlap /facilitate the emergence of new perspectives."2 This goal—to use and to study comics in order to desegregate—must be kept squarely in mind when reading Maryanne A. Rhett's Representations of Islam in United States Comics, 1880–1922, a work of greater potential than its title suggests. At the outset of the book, Rhett states that her goal is to expand readers' "understanding [of] how Islam and Muslims came to be codified in the popular imaginations of the United States between 1880 and 1922" (1), and, to a large degree, she is successful. The chapters move from an overview of terms to a sense of the US religious populations in this era to Islam in the news and political discourse. Chapters four and five focus more specifically on the visual meanings behind harems and scimitars, respectively, as well as how [End Page 243] Turkish involvement in World War I aligned a good deal of Muslim portrayal with nefarious Others (e.g., Germany and Austria). The next chapter is more clever, both analyzing the use of characters in disguise as a Muslim of "Turk" and revealing how (knowingly) false and constructed such outfits were. Concluding with linkages further into the twentieth and twenty-first century, Rhett nicely highlights the promise and the peril of Muslim representations in comics currently; criticisms of imperial heritage and the promotion of marginalized voices are to be lauded but not without a wary eye toward the infantilization of female characters and the relative dearth of research to be placed in responsible dialog here. Any problem arising from Rhett's work is not with the content nor the analysis, both well-written and aptly researched, but perhaps with the scope. In one sense, she does an excellent job of embracing Sousanis's direction by ignoring barriers and lucidly traversing the worlds of fashion, journalism, gaming, and film in her examination of the time period. However, the examination of comics and cartoons themselves makes up a slim majority of this sweep over popular culture, less demonstrating how integrated it was with these other arenas and more undercutting the accuracy of the title. Passages touch upon Mutt and Jeff, Happy Hooligan, and Punch (reasonably argued as an ocean-crossing periodical) as well as later protagonists like Kismet, the heroes of The 99, Dust, Nightrunner, and Ms. Marvel. Unquestionably, there is effort and attention paid to comics, but their starring place in the title feels, across the various subjects deftly discussed, like a misnomer. Considering the quality of the scholarship against the positioning of the book leads to a further criticism, though not of Rhett. In her Acknowledgments section, among the widespread gratitude she expresses to colleagues and family, none of it is explicitly directed to editors at Bloomsbury, fittingly. The publisher might have merited it had they steered her towards a more inclusive title—Representations of Islam in US Popular Culture, 1880–1922 works equally well—suggested she correct odd omissions like Green Lantern Simon Baz, or simply cared to correct typos large and small (e.g., the easily detectable punctuation of "Spiderman and Super Girl," whole sentences which embarrassingly repeating themselves, etc.). In short, Bloomsbury, not Rhett...

Tumblr as counterpublic space for fan mobilization

When the animated TV shows Young Justice (2010–) and Green Lantern: The Animated Series (2011–13) were canceled, fans of the shows campaigned together to have both shows renewed. I refer to this campaign as #saveYJandGLTAS, a hashtag frequently used on internet posts related to the campaign. This case study investigates how Tumblr served as a counterpublic space for this movement, while other social media platforms served as the more public face of this campaign. Through my analysis, I draw conclusions about how fandoms operate and the changes occurring as a result in the relationships between the media industry, creators, and consumers.

Malthus meets Green Lantern: comic book representation of Malthusian concerns

ABSTRACTWith growing concerns of overpopulation in the developing world in the 1960s, Thomas Malthus’ work was rediscovered as an answer to social problems. Neo-Malthusian thought was centred on the pessimistic view of the coming ‘population bomb’ that would create worldwide ills that even developed nations such as the United States and United Kingdom could not ignore. This pessimistic mood found its way into comic books of the era (1960s–1980s). This coincided with a new interest in problems with society at large, epitomised by Bronze Age comic books such as Green Lantern/Green Arrow. Throughout this era, comic book stories occasionally featured villains and/or social settings based on overpopulation. For the first time, our superheroes had to deal with over-urbanised cityscapes, environmental degradation from humans, and crime as a result of population pressure. The ways that comic book creators dealt with this social problem reveals a great deal about the general mood of this issue.

Are X-Chrome Lenses An Occupational Succor for the Colour Vision Defectives?

Purpose: To understand total visual experience of a colour vision defective, this study evaluated responses with X-Chrome lenses on three most prevalent colour vision testing techniques. Methods: The colour vision responses were assessed at baseline and after wearing X-Chrom lenses on Ishihara’s plates, Edridge Green Lantern and anomaloscope of 51 defective males in the age range of 13-41 years in a non-randomized intervention study. Results: While red and orange lenses gave better results on Ishihara’s plates in terms of SS increase in mean number of plates read (p=0.03) and on anomaloscope by shift of Aq values towards normal range (not SS, p=0.44) but green lenses increased mean number of colours seen on Edridge Green Lantern (p=0.03). Conclusions: The red and orange lenses absorb shorter wavelengths of light facilitating red-green blinds to improve on techniques testing red/green defect i.e. Ishihara’s and anomaloscope. However, green lenses may have improved hue discrimination on Edridge Green Lantern.

What the Shadows Know: The Crime-Fighting Hero the Shadow and His Haunting of Late-1950s Literature

During Depression era of 1930s and war years of 1940s, millions of Americans sought escape from tumultuous times in pulp magazines, comic books, and radio programs. In face of mob violence, joblessness, war, and social upheaval, masked crusaders provided a much needed source of security where good triumphed over evil and wrongs were made right. Heroes such as Doc Savage, Flash, Wonder Woman, Green Lantern, Captain America, and Superman were always there to save day, making world seem fair and in order. This imaginative world not only was an escape from less cheery realities but also ended up providing nostalgic memories of childhood for many writers of early Cold War years.But not all crime fighters presented such an optimistic outlook. The Shadow, who began life in a 1931 pulp magazine but eventually crossed over into radio, was an ambiguous sort of crime fighter. Called the because he moved undetected in these dark spaces, his name provided a hint to his divided character. Although he clearly defended interests of average citizen, Shadow also satisfied demand for a vigilante justice. His diabolical laughter is perhaps best sign of his ambiguity. One assumes that it is directed at his adversaries, but its vengeful and spiteful nature strikes fear into victims, as well as victimizers. He was a tour guide to underworld, providing his fans with a taste of shady, clandestine lives of criminals he pursued. Relishing his role, Shadow went beyond simple exploits of a superhero like Superman, and even those he saved were not sure whether they would like to come across him on a dark night in a strange alley.This paper explores role that Shadow plays in work of Sylvia Plath, Jack Kerouac, and LeRoi Jones/Amiri Baraka and reasons these writers were attracted to him. At first glance, this seems an odd assortment of writers to bring together. Though these writers shared an interest in confessional writing that gained momentum in 1950s, their differences are more striking than their similarities. Plath, who married British poet Ted Hughes and had two children, spent a good deal of time in England writing highly controlled verse. Kerouac, a peripatetic loner who celebrated America, insisted on spontaneous, free-flowing production. Baraka, an African American writer struggling with a racist America, eventually took uptown train from village to Harlem in order to produce more politicized work meant to directly affect his community. What unites these different writers is their mutual interest in undercurrent of ambiguity that permeates Shadow. All three writers penned tributes to this crime fighter, using him to examine loss of childhood innocence and entry into adult world. But ambiguity Shadow represented also provided a means of critiquing binary dichotomies that helped define postwar world. Plath, Kerouac, and Baraka used Shadow to explore obverse side of American optimism, simultaneously questioning innocence of childhood and conformism of America along way.1The Shadow KnowsAlthough pulps and radio both shared Shadow, character manifested differently in each. In pulps, Shadow is part hardboiled detective and part mysterious avenger in equal turns. Lamont Cranston, his alter ego, is same man about town as in radio programs and resorts to same type of deduction to solve his cases. But pulp Shadow draws heavily on detective novels of period. He is tough, streetwise, and lives by his own code of vigilante justice outside law. The pulp Shadow also has a stable of helpers (along with several alter egos) to do his bidding. He and his gang battle villains in streets and alleyways until Shadow ends victorious, with evildoers either dead or behind bars. The illustrations for pulps likewise point to influence of hardboiled genre on Walter Gibson's writing [Figure 1]. …

Superheroes [Editorial

Superman, the Green Lantern, Thor, Antman, Ironman .... We all have our superhero! The biggest hero in the world of instrumentation and measurement is by far Mr. Calibration! Mr. Calibration rules the instrumentation and measurement world. Why? Simply because the quality of your instruments and measurements depends on the quality of your calibration!

Service Media: Is it ‘Public Art’? Or is it Art in Public Space?

Abstract Review of Service Media: Is it ‘Public Art’? Or is it Art in Public Space? (2012), Stuart Keeler (ed.), Chicago: Green Lantern Press, 154 pp., ISBN: 978-1450742160.

Book Review: Jill Lepore, The Secret History of Wonder Woman

Book Review: Jill Le pore, The Secret History of Wonder Woman. New York: Knopf, 2014. ISBN: 9780385354042 (Paperback). 432 Pages. $16.95.[Article copies available for a fee from The Transformative Studies Institute. E-mail address: journal@transformativestudies.org Website: http://www.transformativestudies.org ©2015 by The Transformative Studies Institute. All rights resei'ved.]I didn't grow up reading Wonder Woman comic books when I was an adolescent in the 1960s. I was too busy reading the Amazing SpiderMan, the Fantastic Four, the Incredible Hulk, the Invincible Iron Man, the Mighty Thor, the Uncanny X-Men-the whole Merry Marvel Marching Society. Wonder Woman-along with Superman, Batman, Green Lantern, the Flash, Aquaman, the Atom, et al-was DC, Marvel's Dastardly Competition. Besides, she was a girl. Who wanted to read a superhero comic book about a girl?I didn't really get into Wonder Woman until the 1970s, when I was a teenager, and then only through the live-action TV show. Again, I was less interested in the character, per se, than the way Lynda Carter filled out her breast plates. What was there to know about Wonder Woman except that she looked good in hot pants and a halter top?Well, plenty, as it turns out, judging from The Secret Histoiy of Wonder Woman, Jill Lepore's wonderful new book. Although several scholarly tomes have already been published about Wonder Woman, Lepore's research uncovered some startling new facts that put the character's whole history in a new light.Lepore is a bit of a Wonder Woman herself. She is the David Woods Kemper '41 Professor of American History at Harvard University and a staff writer at The New Yorker. She is the author of six previous books of cultural criticism, and her most recent, Book of Ages, was a finalist for the National Book Award.Lepore isn't shy about announcing her bona fides. As she breathlessly states in the foreword:The Secret History of Wonder Woman is the result of years of research in dozens of libraries, archives, and collections, including the private papers of Wonder Woman's creator, William Moulton Marston-papers that have never been seen by anyone outside of Marston's family. I read the published material first: newspapers and magazines, trade journals and scientific papers, comic strips and comic books. Then I went to the archives. I didn't find anything written on parchment; I found something better: thousands of pages of documents, manuscripts and typescripts, photographs and drawings, letters and postcards, criminal court records, notes scribbled in the margins of books, legal briefs, medical records, unpublished memoirs, story drafts, sketches, student transcripts, birth certificates, adoption papers, military records, family albums, scrapbooks, lecture notes, FBI files, movie scripts, the carefully typed meeting minutes of a sex cult, and tiny diaries written in secret code. Stop the presses. I've got the history of Wonder Woman.2Perhaps she too had been reading too many comic books!As she recounts, Wonder Woman was the brainchild of William Moulton Marston. Marston, as he never got tired of telling people, was a Harvard-trained psychologist and the inventor of the lie detector machine. What he didn't say was he was also a failed academic and a bit of a huckster. By the time he started writing Wonder Woman in 1941, no university would hire him, and he had been reduced to giving public love test demonstrations of his lie detector, trying to prove which were more passionate-blondes or brunettes.Wonder Woman allowed Marston to indulge his twin-Lepore would suggest contradictory-obsessions. One was matriarchy. As he stated in a press conference:Women have twice the emotional development, the ability for love, than man has...And as they develop as much ability for worldly success as they already have ability for love, they will clearly come to rule business and the Nation and the world. …

Portugues

Project Bodies Extension Debate, developed since 2007 in public schools aims to broaden the discussion on issues related to the body and its complex socio-cultural relations that are reflected in the school environment, yet rooted to a disciplinary vision of bodies. Our proposal is based on interdisciplinary and multicultural country based on socio-anthropological studies of Le Breton (2006, 2009); understand the notion of the body as a synthesis of subject and territory of individualization, are structured means by which the processes of socialization and institution representations. This analysis began with a diagnostic workshop that directed the processes of reflection in this group from the choice of images taken from magazines where children should be represented. Identified dissatisfaction with their own body characteristics and silencing of images and speeches related to black. Thus, the project was organized into two main themes: Body and media and racial diversity: the appreciation of black. 16 workshops were developed using different forms of language, movies, cartoons, skits, group discussions etc. 106 students from the 4th and 5th years of public school in Rio de Janeiro participated. results indicate the denial of personal characteristics such as skin color, hair type and biotype rather than a body pattern accepted by the group as ideal. In conclusion, we emphasize the speech of a mother who exemplifies the increased criticality of children from experiences in Bodies Project Debate: The work was very good of you, my son now every time he sees the novel says it is unfair to have few blacks on TV and that right was to have half black and half white, like there is in real life. I found it funny that he noticed that the Green Lantern was black and white film put it.

LeRoi Jones’s Radio and the Literary “Break” from Ellison to Burroughs

LeRoi Jones’s Radio and the Literary “Break” from Ellison to Burroughs K. C. Harrison (bio) The opening pages of The Autobiography of LeRoi Jones (1984) depict a deeply visceral encounter with radio: “I pulled a big brown radio down, also on my head… . Another scar, still there. The radio had a knob missing and the metal rod sunk into my skull just left of my eye” (2). LeRoi Jones (later Amiri Baraka) doesn’t make much of the episode—only asking, half mockingly, “Ah, these multiple head injuries … is something beginning to occur to you?”—but its placement at the beginning of his life story suggests its importance. The metal rod does not merely graze or scratch his head, but sinks into the skull, where the scar of the radio remains. Baraka would become best known as a leader of the Black Arts Movement in the late 1960s and ‘70s whose improvisational writing style was deeply influenced by jazz aesthetics. Rather than treat radio as incidental to the distribution of music, however, Baraka demonstrates in his work a deep concern for the relationships that develop among producers, performers, and listeners. Here I will argue that the technology of radio influenced Baraka’s early style and provided a model for the conflicting voices he portrays in Preface to a Twenty-Volume Suicide Note (1961) and The System of Dante’s Hell (1965). Baraka understands radio as an interracial medium, and as such it is a fecund site for exploring his racial imagination during this transitional period. Furthermore, focusing on Baraka’s encounter with sound technology rather than jazz music exclusively highlights his role in a genealogy of media criticism from which he is typically excluded. I link Baraka with the protopostmodernist William S. Burroughs in a lineage that begins with Ralph Ellison’s use of the break, and in so doing I excavate an unexplored facet of the relationship between the Beats and black aesthetics. As his career progressed, Baraka increasingly came to identify black sound with an authentic racial identity rooted in African traditions. But his attention to early radio—not only as a disseminator of black music but also as a model for dispersed identity and disjunctive style—shows that the “blues continuum” he identified among diasporic descendants is fully immersed in the conditions of modernity. Rather than seeking a return to an imagined originary, integral community, it instead vitally participates in the challenges, opportunities, and contradictions of contemporary technology, particularly the material circumstances of broadcast sound. The recognition of Baraka’s interest in both the future, or “post-Western,” and the “pre-Western” “beginnings of our expression” (as he put it in a 1970 essay, “Technology & Ethos”) matters particularly at this supposedly “postracial” moment when depictions of Africans and African Americans continue to circulate as signifiers for premodern authenticity in a postmodern global media culture.1 Interracial Radio Baraka’s early treatment of radio in Preface and System builds on Ellison’s radio-phonograph in Invisible Man to consider technology as both a means of and [End Page 357] metaphor for interracial encounter. Critics note the deep nostalgia that poems such as “In Memory of Radio” and “Look for You Yesterday, Here You Come Today” show toward Baraka’s childhood radio drama heroes such as Captain Midnight, Green Lantern, and the Lone Ranger.2 Yet they miss how Baraka’s fondness for radio participated in the wrenching conflict he experienced, negotiating his identity in the period of transition from bohemianism to black nationalism. Radio, Baraka demonstrates in his work, has caused him to internalize white radio voices, mirroring the process Ellison’s hero describes when he asks his audience, “Who knows but that, on the lower frequencies, I speak for you?” (581). Just as Baraka reconsidered his relationship to white colleagues, collaborators, and influences in the Village following his 1959 trip to Cuba, these works show him reevaluating the interracial communication radio provides. The imaginative boundary-crossing that was effortless to a child, and that he cultivated as an editor and cultural broker in Greenwich Village, becomes problematic. Rather than utterly reject the technological and figurative possibilities of radio, however, Baraka found in the medium’s static...

The Brightest Thing in the World: 3 Lectures from the Institute of Failure. By Matthew Goulish. Chicago: Green Lantern Press, 2012; 72 pp. $12.00 paper

<i>The Brightest Thing in the World: 3 Lectures from the Institute of Failure.</i> By Matthew Goulish. Chicago: Green Lantern Press, 2012; 72 pp. $12.00 paper

Notes on Affective Practice: an exchange

Notes on Affective Practice: an exchange

It's OK To Ask

Years ago, in the heyday of the comic book super hero, the heroes were considered symbols of perfection. Comic book characters such as Superman, Captain Marvel, Batman and Robin, the Green Lantern, and others come to mind. In each case, secret powers, unimaginable strength, and always bringing his or her villainous adversary to a satisfactory end (or at least a termination to some scheme in which the villain hoped to successfully subjugate mankind in the immediate future) identified the super hero. The writers of these comics did allow their hero to have some minor flaw that could be exploited to cause harm to the good guy. As a case in point was Superman?s weakness when exposed to kryptonite (material from his home planet of Krypton).