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Non-Review Review: Guardians of the Galaxy, Vol. 2

The most appealing aspect of the original Guardians of the Galaxy was its awareness of its arrested development.

James Gunn and Nicole Perlman crafted an ode to juvenile nostalgia, anchored in a protagonist who found himself drifting away from Earth following the loss of his mother. Superhero movies work best as extended metaphors or homages, as a vehicle to render the human experience in operatic terms. Guardians of the Galaxy was the tale of a young man who had lost touch with reality in the moment that he lost his mother, and who had escaped into an acid dream of eighties space opera tropes.

Mohawking his wears…

Guardians of the Galaxy, Vol. 2 works best when it remembers this. If the first film explored Peter’s retreat from the death of his mother, then the second explores his relationship with his absentee father. Once again, the film is saturated with eighties iconography. Early in the film, Peter confesses that he used to pretend that David Hasselhoff was his father. It is hard to tell whether he is trading up or trading down when he meets a bearded Kurt Russell.

Guardians of the Galaxy, Vol. 2 has a very straightforward set of character and thematic arcs. The movie maintains a clear throughline, focusing on the relationship between fathers and sons. The film is not subtle, even working in Cat Stevens’ Father and Son. Of course, that archetypal relationship has been explored repeatedly and thoroughly within mainstream pop culture and particularly superhero cinema. Nevertheless, it provides a clear focus to Guardians of the Galaxy, Vol. 2, a sense of momentum and direction.

Turn up the volume.

This throughline is essential, because Guardians of the Galaxy, Vol. 2 suffers from significant bloat. The second act of the film is a mess, one compounded by a number of questionable creative decisions that seem to have been made because these beats are expected from the second film in a blockbuster franchise. Guardians of the Galaxy, Vol. 2 follows the science-fiction sequel playbook just a little too well, occasionally losing sight of its characters and the chemistry between them.

Guardians of the Galaxy, Vol. 2 does not work as well as Guardians of the Galaxy. In large part, this is because it feels like a self-conscious sequel rather than an organic extension of the original film. James Gunn never forgets what worked about the original film, but he also cannot resist the urge to go larger with it.

A hole lot of trouble…

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Adversity in Diversity: Marvel’s Next Generation Heroes…

Much digital ink has already been spilled about the comments that David Gabriel made of the weekend.

Gabriel is the Vice-President of Sales at Marvel, and he was speaking to ICv2 about the company’s underwhelming performance in recent times. The company’s massive “All-New, All-Different” launch in late 2015 appears to have done little to stem the attrition, offering a brief boost that has not halted the decline. Addressing these concerns, Gabriel suggested one very clear reason for the audience’s lack of enthusiasm about these comics. “What we heard was that people didn’t want any more diversity. They didn’t want female characters out there.”

Gabriel’s statement has opened up a new front in the culture wars, drawing attention from a host of high-profile new sources not necessarily known for their history of comic book reporting or their understanding of the medium’s inner workings; The Guardian, The Independent, The Irish Times. In a very strange way, this was seen as real news, in a way that news inside (as opposed to “related to the multimedia franchises of”) the comic book industry rarely is. There was clearly a lot tied up in that interview given by an industry figure to an industry publication.

The reason that this story broke out so strongly is quite simple. This debate is part of a larger debate about representation in popular culture. It emerges in the same climate as the debates about cultural appropriation in Iron Fist and whitewashing in Ghost in the Shell. It arrives at a time when the public at large is increasingly attuned to the need for diversity of representation in media and diversity in talent. It was a story that was surprisingly important to a lot of people who don’t read comic books, because it resonated beyond comic books.

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Iron Fist – Rolling Thunder Cannon Punch (Review)

Iron Fist draws its influences from the strangest possible places.

As a rule, the Marvel Netflix shows are heavily rooted in the reinvention of Marvel’s street level heroes that began around the turn of the millennium. There are generally two key creative figures associated with this era, artist-turned-editor Joe Quesada and writer Brian Michael Bendis. Working the bunch of street-level properties, these two figures invented and reinvented a number of characters and concepts that would become a cornerstone of this shared television universe.

Hitting the wall…

Sometimes the influence was rather direct. Jessica Jones draws fairly heavily and literally from Brian Michael Bendis and Michael Gaydos’ twenty-eight issue run on Alias. Sometimes that influence was more conceptual. Luke Cage tells its own unique story, but it is heavily influenced by Brian Michael Bendis’ rehabilitation of the title character during his runs on Alias and New Avengers. In some ways, Daredevil is an outlier, drawing on the iconic eighties run by Frank Miller, but it is still heavily influenced by millennial runs by Brian Bendis and Ed Brubaker.

Given this existing framework, there is a very obvious influence from which the creative team might draw. Written by Ed Brubaker and Matt Fraction, and illustrated primarily by David Aja, The Immortal Iron Fist was launched in November 2006. The run was launched during the tenure of Joe Quesada and spun directly out of Daredevil. It was also praised by critics and adored by fans for its radical and thoughtful reinvention of the Iron Fist mythos. It was also just plain fun, with Michal Chabon summarising it as “pure, yummy martial-arts-fantasy deliciousness.”

More like bored room, am I right?

With all of this in mind, it seems like Iron Fist should not have to look very hard for an influence. The Immortal Iron Fist was a comic that reinvented a long-forgotten character in a way that made him accessible to modern audiences that had never latched on to Danny Rand. More than that, by focusing on the history and legacy of the title, Fraction and Brubaker had found (some small way) to defuse the potential racial controversy simmering beneath the production. Emphasising the tradition of K’un Lun, The Immortal Iron Fist diversified the mythos.

And yet, in spite of all of that, Iron Fist chooses to draw most heavily and most overtly from the original appearances of Danny Rand in Marvel Premiere and Iron Fist, a run largely forgotten by history and notable primarily as a stepping stone to much greater things.

Hardly gripping.

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Iron Fist – Shadow Hawk Takes Flight (Review)

Who is Danny Rand?

It is a question that any television show should be asking of its lead. The audience will be spending an extended period of time with this character in this world, so the character needs to be interesting and compelling in their own right. The other Netflix Marvel shows made a point of answering this challenge out of the gate. Into the Ring made it clear that Matt Murdock was a ball of repressed rage buried beneath Catholic Guilt. AKA Ladies’ Night established Jessica Jones as a self-destructive super-strong survivor. Moment of Truth sets up Luke as the immovable object.

There are probably easier ways to make sure that Finn Jones stops giving interviews.

There is a recurring sense that Iron Fist understands that establishing its lead character is an important thing to do. Certainly, Snow Gives Way spends enough time on Danny Rand asserting his identity as the sole heir of the Rand Corporation. Shadow Hawk Takes Flight locks Danny in a psychiatric institution in which he is forced to prove his identity to people who believe that he has lost his mind. These are all plot points that, in theory, hinge upon Danny demonstrating who he is. They are, in theory, a solid way to introduce the character to audiences.

However, in practice, there is a recurring sense that Iron Fist simply doesn’t care about making Danny Rand interesting. Iron Fist seems to think that it is enough that the character exists and loosely resembles a superhero. Just like Iron Fist seems to think that it is enough that the show exists and loosely resembles a superhero show.

Not quite a glowing endorsement.

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The X-Files: Season 11 (IDW) (Review)

This June, we’re going to be taking a look at the current run of The X-Files, beginning with the IDW comic book revival and perhaps taking some detours along the way. Check back daily for the latest review.

The X-Files: Season 11 is a relatively lean beast.

The X-Files: Season 10 seemed to struggle to map out a clear direction or identity for itself. This was most obvious in the context of the comic book’s mythology, as writer Joe Harris and his collaborators frequently found themselves revising and rewriting the mythology from one story to the next. All the elements introduced in Believers were reduced to a footnote in Monica & John. Although Gibson Praise made his first reappearance in the final pages of Believers, the mythology only truly galvinised around him over the course of Elders.

xfiles-endgames1

In contrast, The X-Files: Season 11 has a very clear idea of where it is going and room for a minimal amount of distractions along the way. While the art team on Season 10 changed quite frequently, the nine comic book issues that comprise Season 11 are all handled by the core team of writer Joe Harris, penciller Matthew Dow Smith and colourist Jordie Bellaire. There is a consistency and focus to the run that is striking. There is no time for exploration or improvisation. Everything serves its purpose in the context of the story being told.

This is a double-edged sword. While it does reduce the chance of an endearing standalone story like Chitter or Immaculate, it does afford the run a purity and energy that was somewhat lacking as Harris had to revise and rewrite his mythology while the revival miniseries moved closer and closer to public announcement. In some respects, Season 11 feels kind of like the version of The X-Files that some fans wanted when the revival was announced. It is an efficient attempt to resolve dangling plot threads and bring closure to the story being told.

xfiles-homeagain2

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The X-Files (IDW) Annual 2015 – Most Likely to… (Review)

This June, we’re going to be taking a look at the current run of The X-Files, beginning with the IDW comic book revival and perhaps taking some detours along the way. Check back daily for the latest review.

Most Likely to… is an interesting stories in a number of respects.

Most obviously, it represents a clear change in how IDW are approaching their X-Files license. When The X-Files: Season 10 was announced in January 2013, a big deal was made of the fact that it would be the “official” continuation of the adventures of Mulder and Scully. The comic line was very much an expansion of the series, to the point that the bulk of issues – including spin-offs like Conspiracy and like Millennium – took place following the events of The X-Files: I Want to Believe. The future of the franchise was up for grabs.

Flashback.

Flashback.

Most Likely to… is notable as the first X-Files comic published by IDW to unfold entirely within the continuity of the television series, rather than beyond it. Even the framing device in Year Zero was very much set during Season 10. The comic is dated as taking place in November 1999, which would place it early in the seventh season of the show. The dialogue makes it clear that this issue takes place before the events of Sein und Zeit and Closure. This choice of setting feels more like the Topps or Wildstorm comics than the IDW line.

This is a very interesting transition, given how keenly IDW had been focused on their position as the continuation of the franchise. However, it does demonstrate just how much as changed.

Burning down the house...

Burning down the house…

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The X-Files: Season 10 (IDW) #9 – Chitter (Review)

This June, we’re going to be taking a look at the current run of The X-Files, beginning with the IDW comic book revival and perhaps taking some detours along the way. Check back daily for the latest review.

Chitter is an interesting single-issue story.

In many ways, Chitter feels very much like a throwback. It is a “monster of the week” story, the first such story to be written by Joe Harris focusing on an original creation. In fact, Harris acknowledged as much on his blog, remarking, “It’s my first, original ‘Monster of the Month’ (a term I’m taking sole credit for) story and it’s utterly disgusting, I’m sorry.” Although the plot includes a few nods towards the overarching themes of The X-Files: Season 10, the story stands almost completely alone. It would be possible to skip the issue entirely without missing much of importance.

Bugging out...

Bugging out…

This is very much an oddity in terms of The X-Files: Season 10, a monthly comic book series that has been very focused on the mythology and continuity of The X-Files. The first eight issues of the series were given over to threads dangling from the original show, whether the continuation of the mythology in Believers or the fate of the Fluke Man in Hosts or the origin of Mister X in Being for the Benefit of Mister X. This is the first time that the comic book has told a story that feels self-contained and truly standalone.

There is something very refreshing in that, with Harris constructing a story that feels very much in keeping with the tone and mood of The X-Files without relying on specific details. In many ways, it feels more like a classic episode than any of the previous issues. More than that, it actually feels very much like one of the early X-Files comics written for Topps by writers like Stefan Petrucha or John Rozum. It is a very strong piece of work.

Crawl good...

Crawl good…

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