By Jordan
Note: The purpose of Whose Film Is It Anyway? is to examine the validity of the auteur theory through the lens of individual film-makers, taking a look at their bodies of work and highlighting the technical elements, personal style, and thematic consistency of their films. Ultimately, the goal of this column will be to generate a discussion of the merits of auteur theory through examinations of directors widely considered auteurs, analyses of directors whose status as auteurs is more tenuous, and occasional looks at non-directors who may drive the quality and content of their films with more assuredness than the directors they work with.
“It’s just not that common that someone as creatively inspired as Chris just gets carte blanche to do whatever the hell he wants. Anything he can think of—anything—he got to do it.” Joseph Gordon Levitt, on Christopher Nolan
One thing that is important to realize when considering the auteur theory, something that we have struggled with throughout the last year of this feature, is the collaborative nature of film. It can be difficult to argue for a single author of a film that involved the work of hundreds of people. Studios and producers can require input, screenwriters can exert their own voice, actors can change lines or even plot points, cinematographers can contribute a feel all their own to the film, and even costume designers, location scouts, and stunt coordinators can all play an essential role in putting together a complete film. Especially in our current age, many films are made or broken by studio executives based on very brief pitches.
So it is fitting that the final director I will cover in this first run of Whose Film Is It Anyway? columns is one of the few auteurs working today who has managed to solve this problem of studio interference and make big budget movies his own way. How has Christopher Nolan transcended the standard problems that plague a director of blockbuster movies? It’s simple, really: he made a fuck-ton of money (to be clear, “fuck-ton” is more an estimate than an actual scientific or mathematical term). Rather than examining the recurrent themes or technical accomplishments of Nolan’s career (though both could easily be the subject of a full column), I want to take this opportunity to look at the evolution of the auteur, from his humble independent roots to his huge budget freedoms, hopefully shedding some light on a path to vast success and unlimited influence for an auteur along the way.
Nolan started his directorial career with Following, a neo-noir released in 1998 and filmed for just $6,000. Shot using a cast who was working full time and locations made up mostly of the houses of his family and friends, the film follows a young man (Jeremy Theobald) who is drawn into the life of serial burglar Cobb (Alex Haw) and becomes increasingly involved in an underworld he fails to understand. The film introduces several tendencies that will recur throughout his work (non-linear storytelling, twist endings, noir-ish themes and even a man named Cobb will all be seen again in his career), but most importantly proved that Nolan could, and would, shoot a movie for little to no money in order to retain full artistic freedom.
After the critical success of his first film, Nolan was able to secure almost $5 million to produce his follow-up, Memento. Based on a short story written by his brother Jonathan and a screenplay he wrote himself, Memento follows Leonard (Guy Pearce), a man inflicted with anterograde amnesia who is searching for his wife’s killer (dead wives and lovers are another recurring element to Nolan’s oeuvre). Playing out in reverse order, the movie plays with notions of identity and reality, both of which are central themes Nolan returns to repeatedly. The movie scored two Oscar nominations (Best Original Screenplay and Best Film Editing), and got Nolan his first studio directing job.
Nolan directed the 2002 remake of the Norwegian film Insomnia next, working with his largest budget to date by far ($46 million) and working for the first time with the studio he has remained with to this day, Warner Bros. A psychological thriller following two detectives (Al Pacino and Martin Donovan) out to investigate a murder in a town afflicted with perpetual daylight, the film examines perception, memory, guilt and ethical compromises, effectively recasting the original film for American audiences (who, of course, hate subtitles).
Following the success of Insomnia, Nolan convinced Warner Bros. to take a chance on him for the revival of the Batman franchise, which had been dead ever since Batman and Robin killed anyone’s desire to ever see a Batman movie again. Fortunately, Nolan aimed for a more grounded approach to the story, and the resultant Batman Begins cemented him as a blockbuster director capable of handling big budget projects and turning them into hits. Unlike most big budget productions, Nolan refused to use a second unit (generally a back up team that shoots less important scenes, like establishing shots and cut aways, while the first unit shoots the big scenes with the actors or action set pieces) in order to keep his vision consistent. The film also plays with several of Nolan’s pet themes, examining fear, duality, father figures and differing notions of justice.
Nolan had been working on his next film, The Prestige for years, having been approached with the novel and having tasked his brother with the writing of the screenplay (which he eventually revised and rewrote, earning himself a screenplay credit as well). Working with a smaller budget than Batman Begins, Nolan was able to secure himself the freedom he needed to structure the film in his own inventive, nonlinear style to mirror the three elements of the illusion in the film: the pledge, the turn, and the prestige. The film thematically mirrors much of Nolan’s other work (focusing again on perception, duality, and obsession) and performed well at the box office.
Nolan achieved his biggest success, however, and the film that has assured him the freedom he now enjoys, was 2008’s smash hit The Dark Knight, which became the highest grossing film ever made, if only you don’t count that James Cameron guy. Arguably the apex of Nolan’s career, The Dark Knight plays with most of Nolan’s recurring themes while also serving as a meditation on terrorism, the limits of vigilantism, and the lengths a person must go to in order to truly battle evil.
http://www.youtube.com/watch?v=rIj2uL2f1rE
After the monumental success of The Dark Knight, Warner Bros. was desperate to entice Nolan to return for a third time to the franchise. While this has never been confirmed, it is widely rumored that Nolan agreed to direct a third Batman movie if Warner Bros. would allow him total freedom to create the big budget project of his dreams: Inception. Based on an idea that had plagued him since high school and working off of a screenplay he had written over the course of the previous decade, Inception takes Nolan’s recurring questions about perception and reality, his predilection for dead wives, and the big budget aesthetic he has developed since Batman Begins and creates his most personal and original film to date.
Inception is more important, though, for what it represents than for what it is actually about. Based solely on his previous successes (and theoretically the promised future success of another smash hit Batman movie), Christopher Nolan was able to get Warner Bros. to hand him $160 million to make an incredibly high concept and complex movie exactly the way he wanted to. When he decided he wanted the trailers to reveal nothing of the plot, they acquiesced. When he chose to leave the ending ambiguous, they relented. When he wanted to build a rotating set and shoot Joseph Gordon Levitt in zero gravity, he was allowed to. All of this is important because of what it says about the potential of the auteur theory. Christopher Nolan has achieved a remarkable level of success, but he has managed to do so without ever compromising his vision, instead figuring out how to incorporate it so successfully that he can make pretty much any movie he wants at this point and set his own budget.
Movies are made through the collaboration of hundreds of people in one capacity or another. Most auteurs earn the label by transcending these challenges and miraculously leaving their own mark on their movies, even in spite of the pitfalls and people that often stand in the way of just that. Christopher Nolan is a different sort of auteur, though. Where most auteurs work within the confines of the system, Nolan has remade the system to allow himself the freedom he wants and the money he needs to communicate his vision. By using his vast marketability as leverage, he has managed to become the sort of director who can make any movie he wants, at any price, and always manage to ensure that it is completely and utterly his own.
Read more Whose Film Is It Anyway? here
Coming up on Whose Film Is It Anyway?:
Note: Whose Film Is It Anyway? will go on indefinite hiatus after the final installment.
5/8: Notes on the Auteur Theory in 2011
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Showing posts with label Batman. Show all posts
Showing posts with label Batman. Show all posts
Sunday, April 24, 2011
Thursday, March 31, 2011
Chris' Comics Corner
The Avengers #11
Publisher: Marvel
Writer: Brian Michael Bendis
Artist: John Romita Jr.
"For the once and future Captain America will not let the world die this day."
Wow. That was easily the best issue of Bendis' run on the newly relaunched Avengers title to date, and I say that as a fan of the book and its current direction.
As the most epic and Avenger-y of the Avengers line of titles, Avengers needs to be the holy $#!% world ending crisis book, and from time itself breaking apart in the first arc, and the infinity gems being collected by a guy way over his head in the current story, Bendis has definitely delivered. Bendis juggles a huge cast here, but their presence is demanded by the stakes of the story he is telling, and he does a good enough job of giving small moments to a wide array of background players, as well as bigger moments for the stars of this story, namely The Hood, Thor, Hulk, Steve, Iron Man, and Xavier.
John Romita Jr. is one of those quintessential Marvel artists. His renditions of so many different characters are considered to be among some of their most iconic, so I can think of few artists better suited to drawing this very impressive assemblage of Avengers. Romita Jr. illustrates this issue almost entirely in splash pages. This is a technique I'm usually not a fan of as it is often used to unnecessarily pad an issue at the price of actual plot progression (I'm looking right at you New Avengers Vol. 1 Issue #16). However this time around, it really worked.
The big pages emphasized just what a big story this was. Each page moved the story along, and showcased jaw dropping, wide screen action sequences. And not having to draw multiple panels really allowed Romita Jr. to put the necessary details into the crowd shots that would have suffered had he needed to draw 6 different panels of about a dozen or so super heroes each page.
Bendis' usually verbose style is somewhat reigned in this issue. The Watcher's narration adds to the feeling that the stakes could not be any higher, and while the narration does at times spell things out the reader might've been able to infer, again, in this particular instance it actually kinda works, and highlights just how cool a lot of these characters are.
The issue ended on a phenomenal (and very satisfying) twist cliffhanger that I can confidently say will leave me counting down the weeks until the next issue drops.
Grade: A-
Thor #621
Publisher: Marvel
Writer: Matt Fraction
Artists: Pasqual Ferry and Salvador Larocca
"Hah 'Boy.' Only I get to call him that."
It really pains me to say this, but Thor #621 is a very disappointing conclusion to Fraction and Ferry's debut arc on the title. After four straight issues of build up showcasing just how bad-ass and unstoppable the World Eaters are, the actual showdown between them and the Asgardians couldn't have been more anti-climactic.
Between last issue, and this one, the fight lasted about an issue and a half, and most of that was Odin and the World Eater's king having a very static and slightly confusing grappling session. Fraction's solution to the crisis comes off as a deus ex machina because he didn't adequately establish and explain the "rules" he references in this issue. Yes he spent a lot of time in the first issue establishing how the World Tree was a way of interpreting reality, and how nature abhors a vacuum, but he never touched upon how the World Eaters moved between realms, how they were tied to the World Tree and thus trapped in it when it was severed, and how something like that could even be severed to begin with! Maybe this is something more die hard Thor fans can explain to me, but as a very intelligent, and longtime comics reader, I think the creative team has a problem on their hands if I'm lost at the end of their first, introductory story arc.
The solution also seems like it is too easily achieved, as there is only a handful of scenes showing Thor's attempt to sever the World Tree, and the art fails to make what should be an assembled horde of invaders look very horde like, and at times makes it very confusing to figure out what is vexing Thor, and what gives him his second wind. Pasqual Ferry is assisted by a rush finish job from Salvador Larocca which ends up doing no favors to either artist. Ferry has an inimitable style, and while Larocca is a great artist in his own right, his style is too realistic when contrasted against the fantastical visuals we've come to expect from Ferry and demanded by this story.
After the immensely cool idea of the Asgardian Blood Legion was introduced last issue, I was expecting much more in the way of fantastical Matt Fraction ideas of how gods would wage war, rendered beautifully by the fairy tale esque pencils of Pasqual Ferry. Instead of seeing the Asgardians and assembled creatures of the world tree battle for their very survival, we got Thor and Odin duking it out with a handful of invaders. That plus how quickly the battle is ended completely undercut the tension of the story and the menace of the antagonists so masterfully established in early chapters.
This arc really felt like it could have used an extra issue to make the battle feel as grand as it should have been, and with Fraction and Thor moving into a new title with a new #1, with a new artist (Mighty Thor, it's a jumping on point to coincide with the movie, Coipel's drawing the first arc, Ferry is back for the one after), there's no reason Marvel couldn't have let Ferry take all the time he needed to finish the story and make it look just as polished as its first act.
On a positive note, Fraction really knows how to write Asgardian dialogue, and the story ended on a really satisfying beat.
Grade: C-
Green Lantern: Emerald Warriors #8
Publisher: DC
Writer: Peter Tomasi
Artist: Fernando Pasarin
Event Watch: War of the Green Lanterns Part 3
"…Beware MY freaking power--Guy Gardner's might!"
Well, three issues into DC's second biggest Summer blockbuster event and we've already stumbled. Not a good sign. This was a very exposition heavy issue serving mainly as a recap for things that readers of the GL books should already know. And if they didn't, well, there has to be a more artful and concise way of catching people up, cuz I've never had a fight quite as fact filled and informative as the one that Guy and Hal have in this issue.
Eventually the verbal argument gives way to fisticuffs, and I really hope this isn't the Hal and Guy schism that was foretold in prophecy over a year ago, because it just boils down to the influence of Paralax and a rehash of the fight between John and Kyle last issue. At the story's end Hal and Guy free themselves from Paralax's influence but are left in a situation possibly even more dire than that of John and Kyle.
Pasarin does a really nice job with the Green Lantern combat, however a few sequences were a little confusing, most notably at the beginning of the issue with the large number of Green Lanterns arriving to ambush Guy and Kilowog.
I really like Tomasi, and I've enjoyed the direction of this book, so I'm gonna chalk this issue's weaknesses up to Tomasi really wanting to catch readers up on the events of all the GL books before the real fireworks start in the crossover. Despite this weak opening chapter, I am still very excited to see where this story is going.
Grade: B-
Detective Comics #875
Publisher: DC
Writer: Scott Snyder
Artist: Francesco Francavilla
Of the nine comics I purchased this week, four of them employed a heavy use of flashbacks. This one utilized the technique the best. While at first glimpse the flashbacks have little connection to the story in the present, they are none the less engaging and gripping. And by issue's end, the connection between past and present is revealed, and hits you like a punch to the gut.
Detective Comics splits it's focus between arcs centered on Dick Grayson's Batman illustrated by Jock, and standalone stories featuring Commissioner Gordon illustrated by Francavilla. This story is the latter, and I am really enjoying the narrative split, as both protagonists take different but equally fascinating approaches to their roles as Detectives, and Snyder adds in little elements to keep the stories connected despite the fact the both stand on their own exceedingly well.
I can think of few creative teams that do a better job of setting a mood of suspense and horror. Take the opening two pages which have no purpose in the story other to set the mood. The horrifying visual metaphor beautifully rendered by Francavilla, illustrates just how rotten a city Gotham really is and sets the proper tone for the rest of the issue. And I for one am really enjoying this Avian motif Snyder is sticking with. Francavilla really knows how to mix nostalgia, horror, and suspense to give Snyder's story the pacing and tone that it needs. His art is absolutely gorgeous. Retro, and noir tinged, you almost can't help but hear the soundtrack from your favorite old detective movies when you look at his spreads. I would particularly call your attention to the double page spread where Gordon's face fades into some of the more disturbing memories of his son. And I would be remiss in not mentioning Franavilla's color pallet which emphasizes bright blues and oranges to distinguish the different time periods and seasons, making these pages a feast for the eyes.
It's a real shame for Snyder and Francavilla that they are working on this book around the same time that Grant Morrison is still writing a bat book, because otherwise Detective would easily stand out as the best book of the line. As it is they will have to settle for a dead heat, in which some months Morrison's book, is the best bat book, and sometimes theirs is. And going toe to toe with Grant Morrison and holding one's own is no small feat indeed.
Grade: A-
Read more Chris' Comics Corner here
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Publisher: Marvel
Writer: Brian Michael Bendis
Artist: John Romita Jr.
"For the once and future Captain America will not let the world die this day."
Wow. That was easily the best issue of Bendis' run on the newly relaunched Avengers title to date, and I say that as a fan of the book and its current direction.
As the most epic and Avenger-y of the Avengers line of titles, Avengers needs to be the holy $#!% world ending crisis book, and from time itself breaking apart in the first arc, and the infinity gems being collected by a guy way over his head in the current story, Bendis has definitely delivered. Bendis juggles a huge cast here, but their presence is demanded by the stakes of the story he is telling, and he does a good enough job of giving small moments to a wide array of background players, as well as bigger moments for the stars of this story, namely The Hood, Thor, Hulk, Steve, Iron Man, and Xavier.
John Romita Jr. is one of those quintessential Marvel artists. His renditions of so many different characters are considered to be among some of their most iconic, so I can think of few artists better suited to drawing this very impressive assemblage of Avengers. Romita Jr. illustrates this issue almost entirely in splash pages. This is a technique I'm usually not a fan of as it is often used to unnecessarily pad an issue at the price of actual plot progression (I'm looking right at you New Avengers Vol. 1 Issue #16). However this time around, it really worked.
The big pages emphasized just what a big story this was. Each page moved the story along, and showcased jaw dropping, wide screen action sequences. And not having to draw multiple panels really allowed Romita Jr. to put the necessary details into the crowd shots that would have suffered had he needed to draw 6 different panels of about a dozen or so super heroes each page.
Bendis' usually verbose style is somewhat reigned in this issue. The Watcher's narration adds to the feeling that the stakes could not be any higher, and while the narration does at times spell things out the reader might've been able to infer, again, in this particular instance it actually kinda works, and highlights just how cool a lot of these characters are.
The issue ended on a phenomenal (and very satisfying) twist cliffhanger that I can confidently say will leave me counting down the weeks until the next issue drops.
Grade: A-
Thor #621
Publisher: Marvel
Writer: Matt Fraction
Artists: Pasqual Ferry and Salvador Larocca
"Hah 'Boy.' Only I get to call him that."
It really pains me to say this, but Thor #621 is a very disappointing conclusion to Fraction and Ferry's debut arc on the title. After four straight issues of build up showcasing just how bad-ass and unstoppable the World Eaters are, the actual showdown between them and the Asgardians couldn't have been more anti-climactic.
Between last issue, and this one, the fight lasted about an issue and a half, and most of that was Odin and the World Eater's king having a very static and slightly confusing grappling session. Fraction's solution to the crisis comes off as a deus ex machina because he didn't adequately establish and explain the "rules" he references in this issue. Yes he spent a lot of time in the first issue establishing how the World Tree was a way of interpreting reality, and how nature abhors a vacuum, but he never touched upon how the World Eaters moved between realms, how they were tied to the World Tree and thus trapped in it when it was severed, and how something like that could even be severed to begin with! Maybe this is something more die hard Thor fans can explain to me, but as a very intelligent, and longtime comics reader, I think the creative team has a problem on their hands if I'm lost at the end of their first, introductory story arc.
The solution also seems like it is too easily achieved, as there is only a handful of scenes showing Thor's attempt to sever the World Tree, and the art fails to make what should be an assembled horde of invaders look very horde like, and at times makes it very confusing to figure out what is vexing Thor, and what gives him his second wind. Pasqual Ferry is assisted by a rush finish job from Salvador Larocca which ends up doing no favors to either artist. Ferry has an inimitable style, and while Larocca is a great artist in his own right, his style is too realistic when contrasted against the fantastical visuals we've come to expect from Ferry and demanded by this story.
After the immensely cool idea of the Asgardian Blood Legion was introduced last issue, I was expecting much more in the way of fantastical Matt Fraction ideas of how gods would wage war, rendered beautifully by the fairy tale esque pencils of Pasqual Ferry. Instead of seeing the Asgardians and assembled creatures of the world tree battle for their very survival, we got Thor and Odin duking it out with a handful of invaders. That plus how quickly the battle is ended completely undercut the tension of the story and the menace of the antagonists so masterfully established in early chapters.
This arc really felt like it could have used an extra issue to make the battle feel as grand as it should have been, and with Fraction and Thor moving into a new title with a new #1, with a new artist (Mighty Thor, it's a jumping on point to coincide with the movie, Coipel's drawing the first arc, Ferry is back for the one after), there's no reason Marvel couldn't have let Ferry take all the time he needed to finish the story and make it look just as polished as its first act.
On a positive note, Fraction really knows how to write Asgardian dialogue, and the story ended on a really satisfying beat.
Grade: C-
Green Lantern: Emerald Warriors #8
Publisher: DC
Writer: Peter Tomasi
Artist: Fernando Pasarin
Event Watch: War of the Green Lanterns Part 3
"…Beware MY freaking power--Guy Gardner's might!"
Well, three issues into DC's second biggest Summer blockbuster event and we've already stumbled. Not a good sign. This was a very exposition heavy issue serving mainly as a recap for things that readers of the GL books should already know. And if they didn't, well, there has to be a more artful and concise way of catching people up, cuz I've never had a fight quite as fact filled and informative as the one that Guy and Hal have in this issue.
Eventually the verbal argument gives way to fisticuffs, and I really hope this isn't the Hal and Guy schism that was foretold in prophecy over a year ago, because it just boils down to the influence of Paralax and a rehash of the fight between John and Kyle last issue. At the story's end Hal and Guy free themselves from Paralax's influence but are left in a situation possibly even more dire than that of John and Kyle.
Pasarin does a really nice job with the Green Lantern combat, however a few sequences were a little confusing, most notably at the beginning of the issue with the large number of Green Lanterns arriving to ambush Guy and Kilowog.
I really like Tomasi, and I've enjoyed the direction of this book, so I'm gonna chalk this issue's weaknesses up to Tomasi really wanting to catch readers up on the events of all the GL books before the real fireworks start in the crossover. Despite this weak opening chapter, I am still very excited to see where this story is going.
Grade: B-
Detective Comics #875
Publisher: DC
Writer: Scott Snyder
Artist: Francesco Francavilla
Of the nine comics I purchased this week, four of them employed a heavy use of flashbacks. This one utilized the technique the best. While at first glimpse the flashbacks have little connection to the story in the present, they are none the less engaging and gripping. And by issue's end, the connection between past and present is revealed, and hits you like a punch to the gut.
Detective Comics splits it's focus between arcs centered on Dick Grayson's Batman illustrated by Jock, and standalone stories featuring Commissioner Gordon illustrated by Francavilla. This story is the latter, and I am really enjoying the narrative split, as both protagonists take different but equally fascinating approaches to their roles as Detectives, and Snyder adds in little elements to keep the stories connected despite the fact the both stand on their own exceedingly well.
I can think of few creative teams that do a better job of setting a mood of suspense and horror. Take the opening two pages which have no purpose in the story other to set the mood. The horrifying visual metaphor beautifully rendered by Francavilla, illustrates just how rotten a city Gotham really is and sets the proper tone for the rest of the issue. And I for one am really enjoying this Avian motif Snyder is sticking with. Francavilla really knows how to mix nostalgia, horror, and suspense to give Snyder's story the pacing and tone that it needs. His art is absolutely gorgeous. Retro, and noir tinged, you almost can't help but hear the soundtrack from your favorite old detective movies when you look at his spreads. I would particularly call your attention to the double page spread where Gordon's face fades into some of the more disturbing memories of his son. And I would be remiss in not mentioning Franavilla's color pallet which emphasizes bright blues and oranges to distinguish the different time periods and seasons, making these pages a feast for the eyes.
It's a real shame for Snyder and Francavilla that they are working on this book around the same time that Grant Morrison is still writing a bat book, because otherwise Detective would easily stand out as the best book of the line. As it is they will have to settle for a dead heat, in which some months Morrison's book, is the best bat book, and sometimes theirs is. And going toe to toe with Grant Morrison and holding one's own is no small feat indeed.
Grade: A-
Read more Chris' Comics Corner here
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Thursday, January 20, 2011
Chris' Comics Corner
So. Anyone heard any news about The Dark Knight Rises recently?
And as a quick note to anyone who is getting their rage on over Bane being the villain of the new bat flick, let me assure you that the Bane from the comics was a calculating master strategist, who was a worthy opponent for Batman both physically and mentally. In his first confrontation with Batman, Bane unleashed the inmates of Arkham and allowed Batman to wear himself out recapturing them. He then DEDUCES Batman's secret identity, lays in wait for him at Wayne Manor, and in the ensuing battle, breaks Batman's spine.
The hulking monstrosity from the cringe worthy (yet excellent drinking game fodder) Batman & Robin was a ridiculous interpretation of a truly terrifying Bat villain. Bane will definitely work within the universe Nolan has created, and I can't wait to see Tom Hardy's portrayal of the character.
Ok. Onto reviews.
Avengers Academy #8
Publisher: Marvel
Writer: Christos Gage
Artist: Mike McKone
I really, really like this book. Despite the fact that it is the only core Avengers title not written by one of Marvel's architects, a title Marvel has given to five of their most prolific writers, this series is consistently one of my top ten reads.
During Norman Osborn's time as head of U.S. security, he discovered, captured, experimented on, and tortured numerous adolescent super humans in an effort to help them fully realize their powers and so he could bolster the ranks of his super human army. After defeating Osborn, the Avengers informed six of these teenagers that they had the potential to one day become full fledged Avengers, and invited them to train at a newly opened facility called the Avengers Academy under the guidance of, as I call them, the most interesting team in comics: Giant Man, Tigra, Quicksilver, Justice, and Speedball.
The students quickly discover that the Avengers lied to them. These six were not selected because they show the most promise to become the next generation of super heroes, they were selected because their psych evaluations raised numerous red flags, and the Avengers saw a high potential of them growing up to become super villains if they did not step in to offer guidance.
This issue opens with the students discovering that the video of the Hood, the super-villain kingpin of crime, mercilessly ambushing Tigra in her home and beating her senseless has been leaked onto the internet. Tigra is forced to confront her darkest hour made public, while a handful of the students decide to disobey the orders of their instructors and sneak out of the Academy to find the Hood and get some pay back.
The connecting theme for the protagonists of this series is damage. The instructors were all chosen because of the personal tragedies they have experienced and the egregious mistakes they have made. This group can relate to the troubled students because at one point or another in their careers as heroes, they have all hit rock bottom and now they are trying to be better. The real fight in this book isn't against the various villains the heroes face, it's for the souls of their charges, and this issue sees a major step back on the path to heroism for several students, leading to Tigra making a startling proclamation at the end of the issue.
This book has so much going for it! Great writing, Phenomenal art, a killer hook, and best of all, each issue is self contained, (aside from the sub plots that carry over from month to month). I defy you to show me another book that tells a more satisfying, complete single issue story on a regular monthly basis. While it might not sell as well as the other Avengers titles, Avengers Academy is definitely the best of the bunch.
Grade: A-
Invincible Iron Man #500
Publisher: Marvel
Writer: Matt Fraction
Artist: Salvador Larroca, Kano, Nathan Fox, Carmine Di Giandomenico
This milestone, phone book sized celebration of everything Iron Man takes place in two time periods, the present, where Tony Stark teams up with Spider-Man to recover the plans for a doomsday weapon he designed but can't remember much about due to his recent memory wipe, and the future, where Stark and his descendants face a nightmare world upon which said weapon was unleashed.
While it is a satisfying read, I can't help but feel that this issue mostly teased at the bigger picture of things to come without offering any truly new developments or insights that weren't beats that this creative team has already hit. Don't get me wrong, it was a great issue, and this being the second time it's happened, I can only hope that Fraction intends to make the Iron Man/Spider-Man team up an annual event in his book, because under his pen it is a winning combination! (I especially love that throughout the fight against a group of anarchist terrorists who have named themselves after a deceased villain named Stilts Man, Spider-Man continually remarks that despite the fact that Stilts Man was a bank robber and a moron, he was actually a sweet guy and would've hated everything the terrorists stood for.) And I don't think I'm alone in demanding that Marvel make Salvador Larroca an offer he can't refuse to get him on a Spider-Man title as soon as he finishes his run on Iron Man.
Invincible Iron Man is the smartest and highest quality book Marvel is currently publishing. The only fault I can level against it is that sometimes the pacing can be infuriating as I think was the case with this issue, which, while it was a great read, made me more excited for what's to come, rather than the actual book I was holding in my hands, which wouldn't normally be a problem for me, except for the fact that this was such an important milestone issue.
Grade: B+
Buffy The Vampire Slayer #40
Publisher: Dark Horse
Writer: Joss Whedon
Artist: Georges Jeanty
This is the one that I know for a fact that several people who read this blog are actually following so I'm gonna try to be as non spoilery as possible, forgive my vagueness.
After almost a year's worth of issues where the action geared up fast and never looked back, the finale to Joss Whedon's Season 8 finally stops, takes a deep breath, and examines how these characters have changed and where they are headed. It's a bitter and sad ending. So much was lost at the end of last issue, it's hard to disagree with the characters who angrily assert that the world is less bright.
Buffy makes the rounds checking in with most of the surviving characters, revealing new status quos and hinting at future plot lines. We don't really take a lot of time to see the characters reacting to the deaths of major players, but I think that's ok as the ramifications of these losses will likely play a major role in the upcoming Season 9. While the guest writers have all done a great job at capturing the voices of these characters, it's always nice to see the master back at the helm, I especially loved the dialogue in the exchange between Buffy and Spike, which added a much needed bit of comic relief and a nice examination of how their relationship has evolved.
As a fan I do mourn both the characters lost, and the changes to the world of BTVS, however from a plot perspective I understand why these decisions were made, and I am very excited to see where we go from here.
Grade: A-
Read more Chris' Comics Corner here
And as a quick note to anyone who is getting their rage on over Bane being the villain of the new bat flick, let me assure you that the Bane from the comics was a calculating master strategist, who was a worthy opponent for Batman both physically and mentally. In his first confrontation with Batman, Bane unleashed the inmates of Arkham and allowed Batman to wear himself out recapturing them. He then DEDUCES Batman's secret identity, lays in wait for him at Wayne Manor, and in the ensuing battle, breaks Batman's spine.
The hulking monstrosity from the cringe worthy (yet excellent drinking game fodder) Batman & Robin was a ridiculous interpretation of a truly terrifying Bat villain. Bane will definitely work within the universe Nolan has created, and I can't wait to see Tom Hardy's portrayal of the character.
Ok. Onto reviews.
Avengers Academy #8
Publisher: Marvel
Writer: Christos Gage
Artist: Mike McKone
I really, really like this book. Despite the fact that it is the only core Avengers title not written by one of Marvel's architects, a title Marvel has given to five of their most prolific writers, this series is consistently one of my top ten reads.
During Norman Osborn's time as head of U.S. security, he discovered, captured, experimented on, and tortured numerous adolescent super humans in an effort to help them fully realize their powers and so he could bolster the ranks of his super human army. After defeating Osborn, the Avengers informed six of these teenagers that they had the potential to one day become full fledged Avengers, and invited them to train at a newly opened facility called the Avengers Academy under the guidance of, as I call them, the most interesting team in comics: Giant Man, Tigra, Quicksilver, Justice, and Speedball.
The students quickly discover that the Avengers lied to them. These six were not selected because they show the most promise to become the next generation of super heroes, they were selected because their psych evaluations raised numerous red flags, and the Avengers saw a high potential of them growing up to become super villains if they did not step in to offer guidance.
This issue opens with the students discovering that the video of the Hood, the super-villain kingpin of crime, mercilessly ambushing Tigra in her home and beating her senseless has been leaked onto the internet. Tigra is forced to confront her darkest hour made public, while a handful of the students decide to disobey the orders of their instructors and sneak out of the Academy to find the Hood and get some pay back.
The connecting theme for the protagonists of this series is damage. The instructors were all chosen because of the personal tragedies they have experienced and the egregious mistakes they have made. This group can relate to the troubled students because at one point or another in their careers as heroes, they have all hit rock bottom and now they are trying to be better. The real fight in this book isn't against the various villains the heroes face, it's for the souls of their charges, and this issue sees a major step back on the path to heroism for several students, leading to Tigra making a startling proclamation at the end of the issue.
This book has so much going for it! Great writing, Phenomenal art, a killer hook, and best of all, each issue is self contained, (aside from the sub plots that carry over from month to month). I defy you to show me another book that tells a more satisfying, complete single issue story on a regular monthly basis. While it might not sell as well as the other Avengers titles, Avengers Academy is definitely the best of the bunch.
Grade: A-
Invincible Iron Man #500
Publisher: Marvel
Writer: Matt Fraction
Artist: Salvador Larroca, Kano, Nathan Fox, Carmine Di Giandomenico
This milestone, phone book sized celebration of everything Iron Man takes place in two time periods, the present, where Tony Stark teams up with Spider-Man to recover the plans for a doomsday weapon he designed but can't remember much about due to his recent memory wipe, and the future, where Stark and his descendants face a nightmare world upon which said weapon was unleashed.
While it is a satisfying read, I can't help but feel that this issue mostly teased at the bigger picture of things to come without offering any truly new developments or insights that weren't beats that this creative team has already hit. Don't get me wrong, it was a great issue, and this being the second time it's happened, I can only hope that Fraction intends to make the Iron Man/Spider-Man team up an annual event in his book, because under his pen it is a winning combination! (I especially love that throughout the fight against a group of anarchist terrorists who have named themselves after a deceased villain named Stilts Man, Spider-Man continually remarks that despite the fact that Stilts Man was a bank robber and a moron, he was actually a sweet guy and would've hated everything the terrorists stood for.) And I don't think I'm alone in demanding that Marvel make Salvador Larroca an offer he can't refuse to get him on a Spider-Man title as soon as he finishes his run on Iron Man.
Invincible Iron Man is the smartest and highest quality book Marvel is currently publishing. The only fault I can level against it is that sometimes the pacing can be infuriating as I think was the case with this issue, which, while it was a great read, made me more excited for what's to come, rather than the actual book I was holding in my hands, which wouldn't normally be a problem for me, except for the fact that this was such an important milestone issue.
Grade: B+
Buffy The Vampire Slayer #40
Publisher: Dark Horse
Writer: Joss Whedon
Artist: Georges Jeanty
This is the one that I know for a fact that several people who read this blog are actually following so I'm gonna try to be as non spoilery as possible, forgive my vagueness.
After almost a year's worth of issues where the action geared up fast and never looked back, the finale to Joss Whedon's Season 8 finally stops, takes a deep breath, and examines how these characters have changed and where they are headed. It's a bitter and sad ending. So much was lost at the end of last issue, it's hard to disagree with the characters who angrily assert that the world is less bright.
Buffy makes the rounds checking in with most of the surviving characters, revealing new status quos and hinting at future plot lines. We don't really take a lot of time to see the characters reacting to the deaths of major players, but I think that's ok as the ramifications of these losses will likely play a major role in the upcoming Season 9. While the guest writers have all done a great job at capturing the voices of these characters, it's always nice to see the master back at the helm, I especially loved the dialogue in the exchange between Buffy and Spike, which added a much needed bit of comic relief and a nice examination of how their relationship has evolved.
As a fan I do mourn both the characters lost, and the changes to the world of BTVS, however from a plot perspective I understand why these decisions were made, and I am very excited to see where we go from here.
Grade: A-
Read more Chris' Comics Corner here
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