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Kick-Ass

Kick-Ass is a superhero comic book series and media franchise created by Scottish writer Mark Millar and American artist John Romita Jr., first published in 2008 under Marvel Comics' Icon imprint. The story centers on Dave Lizewski, an ordinary high school student and comic book enthusiast who decides to become a real-life vigilante superhero named Kick-Ass, only to face the harsh, violent realities of crime-fighting without superpowers. Originally serialized from February 2008 to February 2010 as an eight-issue limited series, Kick-Ass was later collected into trade paperbacks and expanded into additional volumes, including Kick-Ass 2 (2010–2012) and spin-offs like Hit-Girl (2012), before transitioning to Image Comics for reprints and new ongoing series such as Kick-Ass: The New Girl starting in 2018, which introduces a new protagonist taking up the mantle. The narrative is known for its satirical take on superhero tropes, blending dark humor, graphic violence, and social commentary on vigilantism, influencing modern comic book storytelling with its grounded, consequence-driven approach to heroism. The franchise gained widespread popularity through its film adaptations, beginning with the 2010 eponymous movie directed by , which stars as Dave Lizewski/Kick-Ass, as the precocious child vigilante , and as the eccentric , grossing over $96 million worldwide and earning praise for its bold action and irreverent tone. A , Kick-Ass 2 (2013), also directed by Vaughn and based on the comic continuation, featured returning cast members alongside as Colonel Stars and Stripes, exploring the consequences of the original story's events amid escalating team-ups and rival superheroes. These films, produced by Vaughn's Marv Films and distributed by , amplified the franchise's cultural impact, sparking discussions on the portrayal of violence and youth in media while inspiring merchandise, video games, and further comic expansions under . In February 2024, Vaughn announced a new trilogy of films in the Kick-Ass universe, including a titled School Fight (already filmed) and The Stuntman (in production, directed by Damien Walters), with potential premieres in 2024 or 2025.

Superhero Media Franchise

Comics

The Kick-Ass comic book series was created by writer Mark Millar and artist John Romita Jr., and first published by Marvel Comics under its Icon Comics imprint starting in February 2008. The series follows high school student Dave Lizewski, who adopts the vigilante identity of Kick-Ass to combat crime in New York City, despite lacking superpowers or formal training. In the initial eight-issue run, concluding in February 2010, Kick-Ass forms an alliance with the father-daughter duo Big Daddy and Hit-Girl, engaging in brutal confrontations against organized gangs while grappling with the harsh realities of amateur vigilantism. The storyline continued in Kick-Ass 2 (issues #1-7, 2010-2012), where reassembles as part of a team called Justice Forever, facing escalated threats from a vengeful criminal led by a former ally turned . The narrative arc for concluded with Kick-Ass 3 (issues #1-8, 2013-2014), in which confronts a nationwide network of supervillains and personal doubts about his role as a , ultimately resolving his journey amid intensified gang warfare and moral reckonings. These volumes were collected as Kick-Ass: The Dave Lizewski Years (Books 1-4, spanning 2008-2014), emphasizing the progression from isolated acts of heroism to broader conflicts. Spin-off series expanded the universe, beginning with Hit-Girl (2012, issues #1-5), illustrated by Romita Jr. and set between the first and second main volumes; it explores Mindy McCready's (Hit-Girl's) backstory as she is sent to live with her mother in the suburbs but embarks on a violent mission against corrupt officials. A later Hit-Girl miniseries (2018-2019, issues #1-5, published by Image Comics with art by Ricardo López Ortiz) focuses on Mindy's international adventures, including a quest for vengeance in Colombia against a notorious hitman. This was followed by additional Hit-Girl volumes, including a 12-issue series from 2018 to 2020 exploring further exploits. Kick-Ass 3 itself served as a narrative capstone for Dave's arc, introducing new threats like a mafia boss seeking to eradicate all costumed vigilantes. Following the conclusion of Dave's story, the franchise transitioned to in 2018 under the imprint, introducing new ongoing series. Kick-Ass: The New Girl (2018–2019, issues #1–13), written by Millar with art by various artists including Adam Gorham, features a new female protagonist, Lee, a high school student who becomes the new Kick-Ass after inheriting the mantle from Dave, battling personal traumas and criminal elements in a continuation of the satirical theme. This was followed by Kick-Ass (2022, ongoing as of 2025), further expanding the universe with new characters and stories in the Kick-Ass world.) Publication details include single-issue releases under Icon Comics, with collected trade paperbacks and hardcovers issued by Marvel, such as the debut volume in 2010. By April 2010, the initial collection had sold over 100,000 copies, marking a significant commercial success for an independent-style title. lauded the series for its sharp satire of real-life and the genre, highlighting how it deconstructs the fantasy of powerless individuals fighting crime. However, it drew for its , including brutal injuries and moral ambiguity in heroic actions, which some reviewers argued blurred lines between commentary and glorification. The emphasize themes of amateur heroism without superpowers, portraying characters' physical and emotional tolls through raw, unfiltered confrontations. Millar's writing uses exaggerated to critique societal fascination with caped crusaders, while Romita Jr.'s artwork amplifies the gritty realism of street-level battles. This focus on character development—Dave's evolution from naive enthusiast to battle-hardened leader, and Mindy's complex upbringing as a assassin—distinguishes the print narratives as foundational to the franchise's exploration of flawed, relatable protagonists.

Films

The Kick-Ass film series consists of two live-action superhero black comedy films released in 2010 and 2013, adapted from the comic book series created by Mark Millar and John Romita Jr., with a new reboot trilogy in development as of 2025. The films explore themes of amateur vigilantism and satire of superhero tropes through high school student Dave Lizewski's transformation into the costumed hero Kick-Ass, emphasizing realistic consequences of superhuman aspirations in a gritty urban setting. Directed primarily under the oversight of producer Matthew Vaughn, the adaptations amplified the source material's ultraviolence and irreverent humor, leading to both critical acclaim for innovative action sequences and backlash over depictions of juvenile profanity and brutality. The first film, Kick-Ass (2010), was directed by Matthew Vaughn from a screenplay co-written with Jane Goldman, and it closely adapts the first volume of the comics while incorporating modern elements like social media virality to propel the protagonist's fame. Aaron Taylor-Johnson stars as Dave Lizewski/Kick-Ass, a comic-obsessed teenager who dons a green suit and wields batons to fight crime, only to encounter the trained child vigilante Hit-Girl (Chloë Grace Moretz) and her father Big Daddy (Nicolas Cage), who target a local crime lord played by Mark Strong. Production occurred in the UK and Canada with a budget of $30 million, largely self-financed by Vaughn after major studios declined due to the material's edge. The film grossed $96.2 million worldwide, achieving profitability through strong international performance. Critics praised its kinetic action choreography and bold genre subversion, earning a 76% approval rating on Rotten Tomatoes, though it faced criticism for glamorizing violence involving minors, with some reviewers labeling scenes of Hit-Girl's kills as exploitative. The Motion Picture Association of America (MPAA) awarded it an R rating for strong brutal violence throughout, pervasive language, sexual content, nudity, and some drug use—some involving children—sparking debates on whether the content warranted restrictions beyond the rating. Kick-Ass 2 (2013), directed by after Vaughn stepped back to produce, continues the story with returning cast members Taylor-Johnson, Moretz, and as the villain /The Motherfucker, joined by as the ex-cop vigilante Colonel Stars and Stripes. The plot draws from the second comic volume, following Kick-Ass joining a team-up to combat The Motherfucker's gang amid escalating personal vendettas, blending crude humor with intensified gore such as dismemberments and animal attacks. Filmed in with a $28 million budget, it earned $60.8 million globally, underperforming domestically at $28.8 million due to competition and Carrey's public disavowal over the Sandy Hook shooting's timing. Reception was mixed, with a 6.5/10 user score on highlighting amusement at the absurdity but faulting weaker direction and overreliance on compared to the original; Carrey's withdrawal amplified scrutiny of the film's juvenile violence. In March 2024, announced a reboot trilogy set in the Kick-Ass universe, produced by his , with the first two films directed by stunt performer Damien Walters and shot back-to-back for efficiency. As of November 2025, the second installment, titled The Stuntman, has completed production following filming that began in early 2024, focusing on high-octane action within the franchise's satirical framework. The trilogy, which includes an untitled first film and a third entry serving as the main , remains in development with no release dates announced. These upcoming projects shift emphasis to new iterations of and Kick-Ass, potentially recasting core roles without direct ties to prior actors, to refresh the series' commentary on modern heroism. Across the films, Hollywood's adaptations heightened the satire on celebrity but drew significant for portraying child-led violence, including Hit-Girl's profane outbursts and lethal feats, which some outlets deemed irresponsible amid real-world youth issues. The MPAA's ratings for both entries reflected battles over content cuts, with Vaughn defending the uncompromised vision as to the story's anti-hero , influencing subsequent R-rated fare like Deadpool.

Video Games and Other Adaptations

The primary adaptation of the Kick-Ass franchise is Kick-Ass: The Game, a title developed and published by Frozen Codebase, released for on April 1, 2010, and for on April 27, 2010, in . The game features side-scrolling combat mechanics where players control either Kick-Ass or , progressing through levels inspired by key scenes from the 2010 , including street fights against gangs and boss encounters, with objectives focused on defeating enemies and completing missions using attacks, weapons, and special moves. It emphasizes fast-paced, third-person action but was criticized for repetitive gameplay loops, unresponsive controls, and technical issues like drops, earning a score of 36/100 for the PS3 version and similarly low ratings elsewhere, such as 4/10 from . Commercially, it achieved modest sales, primarily as a digital download to the film's release, without significant long-term impact. A sequel, Kick-Ass 2: The Game, developed by Freedom Factory and published by multiple regional partners including Sold Out for PC, followed in 2014 for , , and Windows PC, with releases starting in August in and September in . This expands on the original's formula, allowing players to select from characters like Kick-Ass, , and Night Bitch for co-op or single-player modes, navigating urban environments to battle thugs and complete side objectives in levels drawn from the 2013 film Kick-Ass 2. Gameplay includes combo-based combat, gadget usage, and enemy waves, but it faced severe backlash for clunky mechanics, poor AI, and lack of polish, receiving a score of 32/100 across platforms and being labeled one of the worst games available. Like its predecessor, it sold modestly as a budget digital title, serving mainly as a low-effort franchise extension without broader adoption. Beyond video games, the franchise has spawned various merchandise items, including action figures produced by NECA, such as 7-inch models of Kick-Ass and The Motherf***er from Kick-Ass 2, featuring articulation and film-accurate details for collectors. Apparel lines, handled by licensees like Merchandise, encompass t-shirts, hoodies, and costumes with franchise logos and character motifs, often tied to promotions and available through retailers like . These products emphasize fan engagement through wearable and displayable items, contributing to the franchise's cultural footprint without venturing into new . No major or adaptations have emerged since 2014, though fan-created mods for unrelated titles occasionally incorporate Kick-Ass elements in unofficial capacities.

Music

Songs

The phrase "kick ass" has appeared in various musical compositions across genres, often evoking themes of energy, rebellion, or empowerment, with examples dating back to the early independent scenes. These tracks predate the comic debut of the Kick-Ass franchise and illustrate the term's colloquial use in music to denote intensity or triumph. One of the earliest documented releases is the self-produced tape In Case of Emergency Kick Ass by Canadian band The Unwanted, featuring raw, aggressive tracks like "Die a Slave" and "Don't Ask Why" that captured the DIY ethos of North American during the . Recorded in a setting with minimal production, the tape circulated and influenced later Canadian acts through its high-speed riffs and lyrics. In 1987, American Milo Tremley (under the alias James Lee Reeves) issued "Kick Ass USA" as a 7-inch single on an independent label, a novelty rock track penned as a patriotic rally cry amid rising tensions before the , with lyrics like "Kick Ass USA, kick ass boom boom boom" blending blues-rock riffs and humorous bravado. Produced simply in a home studio to emphasize its anthemic chorus, the song gained niche airplay on novelty radio shows such as The Show, resonating culturally as a lighthearted expression of during geopolitical uncertainty. The turn of the millennium brought interpretations, such as the 2000 club track "Kick Ass" by Italian production duo Zini & Kantini, released on the Le Club label with multiple mixes including the Original Club Edit and Groovaholics Single Edit, fusing beats and vocal samples for dancefloors. Recorded in studios with emphasis on pulsating basslines and synth hooks influenced by late-1990s , it received positive reception in European circuits for its high-energy vibe but remained a favorite without major chart success. A prominent pop example emerged in 2010 with "Kick Ass (We Are Young)" by British-Lebanese singer MIKA and producer RedOne, an upbeat empowerment anthem from the Kick-Ass film soundtrack featuring lyrics about youthful defiance and strength, such as "We are young, we are strong." Co-written by MIKA, RedOne, and Jodi Marr during sessions in Los Angeles blending electro-pop with rock elements, the track debuted at number 84 on the UK Singles Chart and peaked in the top 10 in Italy, praised for its catchy hooks and motivational tone in reviews from music outlets. Remixes, including the Cutmore Remix, extended its club play, while its incidental use in the film amplified visibility without overshadowing its standalone appeal. Later entries include American saxophonist Mindi Abair's 2014 rock-jazz fusion track "Kick Ass" featuring guitarist Joe Perry from her album Wild Heart, a saxophone-driven powerhouse with gritty riffs evoking soul-rock influences and live performance energy. Recorded in Nashville with a focus on improvisational solos during sessions that highlighted Abair's work alongside Perry's bluesy leads, it earned acclaim for revitalizing and was performed live at events like the 2015 She Rocks Awards. In 2021, Canadian rock veteran released "Kick Ass" from his album , a straight-ahead rock number with a spoken-word intro by comedian parodying creation myths to introduce the band's sound, drawing on production techniques. Co-written with producer in studios emphasizing guitar-driven hooks and anthemic choruses, the song received favorable notices for its fun, nostalgic vibe amid Adams' return to rootsy rock, though it did not achieve significant chart placement. A followed in 2022, featuring Cleese and reinforcing its humorous, high-spirited reception in live tours through 2025.

Bands

Kick Axe is a Canadian hard rock and band formed in 1976 in , by brothers Victor Langen on bass and vocals and Gary Langen on drums, along with guitarist Larry Wray and later additions Raymond Harvey on guitar and George Criston on lead vocals. The group's sound blends with punk-influenced energy and melodic elements, drawing comparisons to contemporaries like and Scorpions. Their name, a phonetic play on "kick ass," has shaped their branding as a high-energy act, emphasizing aggressive riffs and anthemic choruses that resonate in live settings. The band's debut album, Vices (1984), marked their breakthrough, achieving gold status in Canada and featuring standout singles like "Heavy Metal Shuffle," which later appeared in the 2007 film The Transformers. Follow-up releases included Welcome to the Club (1985) and Rock the World (1986), the latter produced by and showcasing tracks such as "On the Road to Rock." After a period of lineup changes and reduced activity in the 1990s, returned with Kick Axe IV (2004) and Monkey Business (1998 reissue context), maintaining a niche following through Canadian tours and festival appearances, including slots alongside major acts like Scorpions and in the 1980s. Founding guitarist Gillstrom died on August 4, 2025, at age 70, after a battle with cancer; his final hometown performance was at Casino on November 23, 2024. As of November 2025, the band's future activities and plans for a new studio album (tentatively titled One More Sin, aimed for late 2025 or early 2026 prior to Gillstrom's death) remain uncertain, though they have not achieved major international chart success beyond their domestic fanbase. No significant controversies have marred their career, but their persistence highlights the enduring appeal of 1980s-style metal in independent circuits. Internationally, other groups with similar names include Kick-Ass, a Chilean thrash/ band formed in 2000 in Paine, , known for socially critical lyrics but remaining unsigned and without major discography releases as of 2025. In the , The Kickass, a trio from , active in the early , released works like Death Metal Is for Pussies (2004) before a and limited 2012 tour revival, evolving into a favorite for complex, technical compositions without widespread commercial impact.

Other Uses

Websites

KickassTorrents (KAT), a prominent indexing website, operated from 2008 until its shutdown in 2016, providing users with a directory of files and magnet links for of movies, shows, software, games, and other . Founded by national Vaulin, the site quickly grew into one of the world's largest platforms, attracting over 50 million unique monthly visitors at its peak and ranking as the 69th most-visited website globally. KAT's structure featured a user-friendly with categorized listings, detailed descriptions including file sizes and seeders, and an active community where users could discuss uploads, request , and provide feedback. The platform relied on community moderation, with volunteer staff verifying uploads for quality and relevance while removing malicious or low-quality files, fostering a sense of user-driven curation that contributed to its popularity in file-sharing culture. Monetization primarily came from display advertisements, including banner and pop-up ads from third-party networks, which generated revenue without requiring user payments or premium subscriptions. At its height, KAT indexed millions of torrents, serving as a central hub for peer-to-peer distribution and influencing broader debates on digital piracy by enabling widespread access to copyrighted material. Legal troubles culminated in July 2016 when U.S. authorities, in coordination with international partners, seized KAT's primary domains—including kickass.to and kat.cr—during raids, leading to the site's abrupt offline status. Vaulin was arrested in in 2016 on charges of criminal , , and , facing potential decades in prison for allegedly profiting from the site's facilitation of illegal downloads estimated to have caused over $1 billion in damages to rights holders. He was released on in May 2017 due to health issues but jumped in late 2020 and remains at large as of 2025. The operation, involving the Department of Justice and , highlighted KAT's role in global networks and sparked controversies over the balance between enforcement actions and user in file-sharing ecosystems. Following the shutdown, KAT's legacy persisted through proxy mirrors and successor sites that emulated its design and functionality, such as katcr.to, which offered redirected access to archived torrents and new uploads. In December , former KAT staff and moderators relaunched a community-driven version, restoring forums and user accounts to maintain the site's social aspects amid ongoing lawsuits from industries. By 2025, while no official full revival has occurred, multiple domains and mirrors continue to operate, sustaining a niche user base and underscoring KAT's enduring impact on torrenting practices despite persistent legal challenges. This platform, despite its name similarity, bears no relation to the Kick-Ass .

Terminology

"Kick-ass" functions as a adjective in English, denoting something or someone that is exceptionally impressive, formidable, tough, or highly effective in a vigorous manner. For instance, it might describe a "kick-ass " that demonstrates outstanding and skill. This usage emerged in during the 1970s, with the recording its earliest evidence in 1977 from a article. The related "kick ass," meaning to assert dominance or punish harshly through forceful , traces back much further to at least 1862, as evidenced in a soldier's letter where it connoted merciless enforcement of authority. The expression evolved from its initial violent implications—evoking literal physical beatings or "ass-kicking"—to a more positive connotation of dynamic success and excellence by the late . This shift is apparent in its adoption across various , including pre-2008 song lyrics and book titles that highlighted energetic triumphs, such as the 1999 anthology Kick Ass: Selected Columns of , which compiled the author's bold journalistic pieces. Dictionaries began formalizing the term in the , with incorporating it to reflect its growing colloquial acceptance as a marker of superior quality or intensity. Its popularization accelerated through 1980s cinema, notably in John Carpenter's 1988 film , where the improvised line "I have come here to chew bubblegum and kick ass... and I'm all out of gum" delivered by encapsulated a gritty, no-nonsense attitude. Culturally, "kick-ass" has spawned variations for different tones and regions, such as the milder "kick butt," a often used in or professional contexts to retain the sense of decisive action without . In British English, the shifts to "kick ," aligning with local while preserving the original aggressive flair. By 2025, the phrase persists in motivational , such as self-empowerment slogans in and business media, and appears in memes that humorously amplify everyday achievements or , independent of any ties to specific franchises. Historically, while the verb form appeared in print sporadically from the amid military and countercultural contexts, the gained traction in the through publications and journalism. Its usage peaked during the 1980s and 2000s in pop culture, fueled by films, music, and that celebrated bold , solidifying it as a staple of energetic .

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