comic book, an ice cream company giveaway, was a Johnny-come-lately entry in Mask of Zorro, a page version of the film of the same name as one of. Zorro Research nvrehs.info SARRIS 2 The Legend of Zorro: Myth or Reality? .. In , Zorro appeared in Walt Disney's Comics and Stories. Zorro has been appearing in comics since the s, with reprints and original stories printed worldwide. With stories published by a variety of the best names in .
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The administrator of this site (nvrehs.info) cannot be held responsible for what its users post, or any other actions of its users. You may not use this site to. Django - Zorro #1 - 7 FREE Comics Download on CBR CBZ Format. Download FREE DC, Marvel, Image, Dark Horse, Dynamite, IDW, Oni. This PDF of Golden Age Western Comics is Jesse James (Cowboy Western Comics #39 - Charlton, June ) . like The Lone Ranger, Cisco Kid, Zorro.
Some media adaptations of Zorro's story have placed him during the later era of Mexican California — Sometimes the mask is a two piece, the main item being a blindfold-type fabric with slits for the eyes, and the other item being a bandana over the head, so that it is covered even if the hat is removed: this is the mask worn in the movie The Mark of Zorro and in the television series Zorro — Other times, the mask is a one piece that unites both items described above: this mask was introduced in The Mark of Zorro and appears in many modern versions.
Zorro's mask has also occasionally been shown as being a rounded domino mask , which he wore without also wearing a bandana. In his first appearance, Zorro's cloak is purple, his hat is generically referred to as a "wide sombrero," and his black cloth veil mask with slits for eyes covers his whole face. Other features of the costume may vary. He also uses other weapons, including a bullwhip and a pistol. The fox is never depicted as Zorro's emblem. It is used as a metaphor for the character's wiliness, such as in the lyrics "Zorro, 'the Fox', so cunning and free His heroic pose consists of rearing on his horse Tornado , often saluting with his hand or raising his sword high.
The logo of the company Zorro Productions, Inc. Skills and resources[ edit ] Poster for the serial Zorro Rides Again , starring John Carroll as a descendant of the original Zorro Zorro is an agile athlete and acrobat , using his bullwhip as a gymnastic accoutrement to swing through gaps between city roofs, and is very capable of landing from great heights and taking a fall.
Although he is a master swordsman and marksman, he has more than once demonstrated his prowess in unarmed combat against multiple opponents. His calculating and precise dexterity as a tactician has enabled him to use his two main weapons, his sword and bullwhip, as an extension of his deft hand.
He never uses brute strength. Instead and more likely, he uses his fox-like and sly mind, and well-practiced technique to outmatch an opponent. In some versions, Zorro keeps a medium-sized dagger tucked in his left boot for emergencies. He has used his cape as a blind, a trip-mat and a disarming tool. Zorro's boots are also sometimes weighted, as is his hat, which he has thrown, Frisbee-style, as an efficiently substantial warning to enemies. But more often than not, he uses psychological mockery to make his opponents too angry to be coordinated in combat.
Zorro is a skilled horseman. The name of his jet-black horse has varied through the years. In The Curse of Capistrano, it was unnamed. In Disney's Zorro television series the horse gets the name Tornado , which has been kept in many later adaptations.
In most versions, Zorro keeps Tornado in a secret cave, connected to his hacienda with a system of secret passages and underground tunnels.
McCulley's concept of a band of men helping Zorro is often absent from other versions of the character. In Douglas Fairbanks' version, he also has a band of masked men helping him. In McCulley's stories, Zorro was aided by a deaf-mute named Bernardo. In Disney's Zorro television series, Bernardo is not deaf but pretends to be, and serves as Zorro's secret agent.
He is a capable and invaluable helper for Zorro, sometimes wearing the mask to reinforce his master's charade. The Family Channel 's Zorro television series replaces Bernardo with a teenager named Felipe, played by Juan Diego Botto , with a similar disability and pretense. Zorro Reed Hadley in the serial Zorro's Fighting Legion In The Curse of Capistrano, Diego is described as "a fair youth of excellent blood and twenty-four years, noted the length of El Camino Real for his small interest in the really important things of life.
It appeared that he disliked action. He seldom wore his blade, except as a matter of style and apparel. He was damnably polite to all women and paid court to none.
Those who knew Don Diego best declared he yawned ten score times a day". Though proud as befitting his class and seemingly uncaring about the lower classes , he shuns action, rarely wearing his sword except for fashion, and is indifferent to romance with women.
This is, of course, a sham. At the end of the novel, Diego explains that he has planned his double identity since he was fifteen: "It began ten years ago, when I was but a lad of fifteen," he said. I saw my friends, the frailes, annoyed and robbed. I saw soldiers beat an old native who was my friend. And then I determined to play this game. So I pretended to have small interest in life, so that men never would connect my name with that of the highwayman I expected to become.
In secret, I practiced horsemanship and learned how to handle a blade—" "By the saints, he did," Sergeant Gonzales growled. And then the time came, and my work began. The moment I donned cloak and mask, the Don Diego part of me fell away. My body straightened, new blood seemed to course through my veins, my voice grew strong and firm, fire came to me!
And the moment I removed cloak and mask I was the languid Don Diego again. From the above masked heroes, Zorro is the one who, since his creation has become most well-known. The Official History and many others. However famous Zorro has become over the years in all forms of literature, there is a mystery surrounding his creation.
It is not known of how McCulley came to think of the character so many questions have appeared. In other words, what is being asked is if Zorro is a myth or a reality. McCulley has not stated where he got the idea to create Zorro, whether he existed or based on anyone. Therefore it is difficult to determine if he was a mythical hero after all or simply a realistic and heroic being. As Zorro -a word which means fox in Spanish- he simply wears a mask and a cape to cover his identity.
McCulley did not seem to want to write another Zorro story so all characters and readers find out in the end who Zorro was. Don Diego and Sir Percy are not simply hiding their identities and live a dual life as noblemen who do nothing and as heroes who perform brave acts.
They both pursue a woman who falls in love with their alter-ego before finding out who they really are. Marguerite keeps thinking of the Scarlet Pimpernel, wishing she could be with him rather than her husband, and Lolita dreams she could be with Zorro rather than marry Diego. Both include the archetype of a secret identity. Zorro has fox-like wits while the Pimpernel is very cunning.
They both have a humorous charm. Zorro uses the Z to mark out where he has been and on his enemies and similarly the Pimpernel uses the scarlet pimpernel, a tiny flower coming from England as his signature. Simply from the above claims, this would mean that McCulley had read The Scarlet Pimpernel and was inspired to write his own American version, simply changing the French reality of Pimpernel to suit the American one of Zorro.
Orczy, wrote on real life events and on real people such as Chauvelinix whereas no events or people are real in McCulley. If one does not know of American history they would believe that similar events may have taken place because it is well written since he based the events on a period where California was between becoming a US state, and being part of Spain and Mexico, something that was true. Douglas Fairbanks read The Curse of Capistrano and decided to turn it into a motion picture.
The Mark of Zorro was such a success that a reprint of the original story was made into a novel in with the same title as the film. McCulley had given away the identity of Zorro in his original story because he had no intention of continuing Zorro.
Seeing the success of his character on film, he decided that although Zorro was revealed, he could write further adventures of the character. In doing so, the idea of Zorro as a legend rather than reality is even greater.
In some stories, only certain people know that Diego is Zorro, it would either be his father, Alejando, Frey Felipe or his servant, Bernardo. McCulley was also inconsistent with when Diego became Zorro and the time period he took on his dual identity. The original story put Zorro in the s whereas later stories put him to become the legendary character as early as All these would suggest that McCulley kept writing stories of Zorro because it had become a motion picture success and because he realised that the readers wanted more stories on the legend of Zorro.
The original novel seems more real than the rest of the Zorro stories, further signifying the myth behind Zorro. These inconsistencies make it impossible to determine a correct history of Zorro as a character and even to determine whether there was in fact such a person alive at any period of time between the years and To add to the above point, one has to look at the people that could be seen as resembling the figure of Zorro and who lived around the time McCulley uses in his setting.
Joaquin Murrieta lived between the years of and He then went on a killing rampage and his deeds became so well known that he is considered an equal legend amongst Jesse James and Billy the Kid. He was eventually killed and mutilated by Harry Lovexiv. There is no trace back to any real person that existed before Murrieta or even to Murrieta himself. Murrieta killed for revenge while Zorro did not want to harm anyone but rather overthrow a corrupt government and the rich who controlled land and people.
Murrieta did not seem to care for the money he stole since his family was involved with the Gold Rush but there is no evidence that he gave money to the poor like Zorro did. Zorro was only a bandit to the wealthy and the government since he stole money and gave them to the poor but not to the people who saw him as a saviour, as a hero who would help to bring them their freedom.
Accounts suggest that Murrieta was seen as a bandit to some and a hero to others. Another reason why he could be seen as Zorro or the inspiration for his creation was that Murrieta was also given the name El Coyote in a Spanish version of his story where he fought for justice against the English, Zorro, however, helps against the injustices of the Spanish governmentxvi. In fact he has been used as part of the Zorro legend in the film The Mask of Zorro.
Whatever the case, the first super hero and Murrieta are two great examples of American myth creation as part of a range of real and legendary characters including Jesse James and Billy the Kid. She also tries to show how McCulley came up with the story of Diego coming from Spain where he was taught everything he knew about fighting, how he was taught by his father Alejandro that being righteous and helping others in need is more important than anything in life.
This is done from the use of real events and people, such as the pirate Jean Lafitte. This makes the story more realistic than McCulley. The pirate in her story wears black clothes from top to bottom and Allende suggests he inspired Diego to make his Zorro costume black. By the end, a complete life cycle of Zorro has been revealed, from his prime of life until his old age.
She simply adds her version to what she sees Zorro as rather than provide real information to show that there is a reality behind Zorro. Her book, Zorro Unmasked: There are references to the possibilities of a real-life Zorro having existed first as a bandit, then a hero and comparisons between all the Zorros of the past.
If there was a reality behind Zorro then Curtis would have written it. The reader realises that Zorro did not exist but McCulley created a fictional character from a combination of stories and real bandits, a super hero that has become a legend over the years and has been appealing to the public for over 90 years. The two most recent films of Zorro, Mask of Zorro in and Legend of Zorro in are part of the second category.
The former is based on the original story but with some character changes and additions of real life people of midth century. It is set in and the audience see how the Murrietas became bandits.
Joaquin is killed and beheaded by Captain Love and Alejandro wanting revenge takes up the role of Zorro with the help of Don Diego. What is interesting in this film is the achievement of adapting the legend of Joaquin Murrieta with the legend of Zorro. The fact that here fiction meets reality makes the legend of Zorro even more interesting.
It shows how Zorro has become a legend in almost one century. SARRIS 9 Zorro changed over time from a character McCulley created in a pulp magazine and read by adults to a character that is now very famous amongst the younger generations. This dramatic change occurred in the late s and the s with Disney and with the first comic books appearing with Zorro.
Disney added a name to the horse that McCulley did not have which was used later in other films. The stories and films made him a legend and only to this extent can he be seen as real, for his righteous deeds. He certainly shows that Americans in the 19th century felt oppressed from all directions, especially from governments and the wealthy and that there may have been people who tried to help the people achieve freedom and righteousness.
This is the outcome of Zorro today. Through the various interpretations in film, television, books, comics and cartoons, Zorro has changed over time; nonetheless, the legacy created by McCulley continues.
Margaret Sayers Peden. Baugh, Matthew. The Legacy of the Fox: