After-the-fact Review: The Avengers

Grade: A

Most days, it doesn’t pay to be an optimist. Such a quality inevitably leads to heartbreak. But, there are days, like no other, when positive thinking pays phenomenal dividends. Today, is one of those rare days.

Joss Whedon’s adaptation of Jack Kirby and Stan Lee’s, with a twinge of Mark Millar’s Ultimates, Avengers is pure, unadulterated fun. A random audience member two seats down from me, may have summed up the Avengers better than I ever could, “If I told my younger self that there would be an Avengers movie of this quality, she would never believe it.”

Unfortunately, a few naysayers may have felt that the Avengers was little more than a curious, if impossible, prospect before seeing Whedon’s summertime masterpiece, but rest assured, Whedon has done what seemed impossible. He has made a balanced, respectful superhero flick that remembers exactly what superheroes should be: fun.

Avengers essentially recounts the first meeting of Marvel’s famed dysfunctional supergroup and their first encounter with an otherworldly force that no one hero can withstand, in the case Loki (Tom Hiddleston) the petty, mischievous brother of Asgardian God of Thunder, Thor (Chris Hemsworth). When faced with Loki, who possesses the a glowing cube with cosmic power, The Tesseract, and an army of alien Skeletors, one-eyed super spy, Nick Fury (Samuel L. Jackson) goes about assembling four of Earth 616’s mightiest heroes and two kinda-superspies. Man out of time, Captain America (Chris Evans);god from another world, Thor (Chris Hemsworth), anger personified, The Hulk (Mark Ruffalo); and cocky techKnight, Iron Man (Robert Downey Jr.) join Black Widow (Scarlett Johansson) and, eventually, Green Arrow pastiche, Hawkeye (Jeremy Renner) to become the most functionally dysfunctional superteam, one that has time bicker incessantly despite facing down alien armies and nuclear strike teams. As with any confluence of superheroes, the question becomes: will these heroes be able to put aside their differences to save the world? Of course, they can...

Whedon’s Avengers has a simple plot, but he uses that decision to do what he does best: build unforgettable characters who play off each other phenomenally well. Granted, the Avengers are well-defined enough that they don’t necessarily need Whedon’s, who also snagged a screenwriting credit, deft touch, but it doesn’t hurt. Every character, from Cap to Iron Man to fan favorite Agent Coulson (Clark Gregg), is remains true to the core qualities developed in decades of comics and writ large in the individual Avengers prequels. Cap is as noble and principled as expected while Tony Stark reveals heroism beneath unflinching snarkiness, and those are only two of the most memorable examples of the exemplary character work Whedon puts on display. Whedon balances character and spectacle so well in the Avengers that one wonders why Marvel doesn’t just hand him their slate of big screen endeavors from here on out. Whedon orchestrates character and chaos with equal aplomb. The sheer quality of the mayhem--coherent, clear, and consistently thrilling--that unfolds on screen is astounding. The attack on Manhattan that composes the last hour is easily the superhero flick equivalent of Helm’s Deep, only better. In fact, The last hour plus of Avengers somehow crams more action--with exceptional geography--than any superhero flick ever has, and for that audiences really need to thank Whedon and Marvel for making this happen. 

Whedon and company could not have made this happen without an top notch cast. Robert Downey Jr. is the undeniable star of the show here--though the Hulk probably truly deserves the title--as he dominates every scene with Tony Stark’s trademark asinine, cocksure quips. Chris Evans comes in a close second, further eschewing his own well-known cockiness to give Captain America and unflinching earnestness that makes him the hero really deserve. Mark Ruffalo steps up to plate to prove that third time’s the charm for the Hulk, making Bruce Banner far more engaging and palatable than his predecessors by subtly weaving Banner’s bookishness with a razor’s edge of intensity. Chris Hemsworth continues make Thor far more digestible than most Thor comics have by expertly balancing Thor’s Shakespearean bravado and the character’s own endless compassion for his brother. Speaking of which, Tom Hiddleston’s Loki proves even more threatening and nuanced than he did in Thor and makes for a great villain who does more than attempt to take over the world. Even Scarlett Johansson’s Black Widow is a far more improved character than she was in Iron Man 2, and thankfully, she’s focused more on kicking ass this time than posing. Sadly, Jeremy Renner’s Hawkeye gets short shrift this time, and we never get to see the character’s well-known rebellious streak. 

Looking at that list, and the fact that Marvel and Whedon managed to wrangle so many actors and characters to create such an amazing display, one can’t help but be amazed at Marvel’s ambition. Sure the plot is basic--but so was the first issue of Avengers--and the original creators get minimal credit--by all rights, this should be Stan Lee and Jack Kirby’s Avengers--but this is nonetheless and exceptional achievement. Avengers has raised the bar for superhero flicks by going back to basics. Christopher Nolan’s Dark Knight trilogy may have been the most recent set of superhero movies to raise the quality of the genre by bringing pure artistry to the fore, but the Avengers does something that Nolan’s film rarely make audiences do: smile.

The Yin and Yang of It

Yang: Amazing character and action on display in Whedon’s blockbuster masterpiece. Robert Downey Jr., Chris Evans, and the Hulk are standouts amongst a cast of standouts.

Yin: Plot is a bit simple and the sheer existence of this film in the face of Marvel’s recent entanglements with the Avengers original creator, Jack Kirby, is an affront to creator’s rights, but these are minor quibbles.

In between: Hulk smash.

Review - Ultimate Comics Spider-Man #2

Grade: A

Let me start this review by thanking Brian Michael Bendis for showing the comic-reading public that some African-American fathers do stick around to raise their children.

Conversely, I’m saddened that, by the same token, he also perpetuated the stereotype that most Black man are or have been incarcerated. But, since Bendis focuses more on showing a powerful father-son relationship, I’ll let him slide on the jailed Black man stereotype, no matter how unfortunate and uncomfortable its truth may be.

Ultimate Comics Spider-Man #2 continues the excellence of the first issue, this time focusing more intently on Miles. The last issue of UCSM ended with Miles being bitten by a genetically-engineered spider and then discovering he has the ability to become invisible. Issue #2 picks up right from that moment and follow Miles as he discovers some of his new abilities. While wandering towards home, Miles finds he has the ability to not only disappear but to jump and, when he runs afoul of some bullies, emit a shocking sting like a spider. Scared to death of being a mutant in a world where the remaining free mutants are quickly on their way to a days of future past scenario, Miles rushes to share his fears with his friend Ganke, a chubby, intelligent Asian with a passion for Legos (one stereotype out of two isn’t bad; kudos, again, Mr. Bendis). Not long after showing off some of his new-found powers, Miles’ father, last seen arguing with Miles’ uncle Aaron, arrives to reclaim his son.

The second half of the issue is dedicated to an awkward but moving conversation between Miles and his father, where his father reveals that he was once imprisoned—after running and robbing with Aaron—and how he hopes Miles will never have to face such a fate. This moment, which took at least three pages, is a pitch-perfect example of why decompression is a viable approach to comic storytelling. Allowing the conversation between Miles and his father to continue unburdened by a rushed gives the characters a chance to breath and enabled Bendis to employ some very human pauses and reactions. That scene single handedly shows that the best written and illustrated comics can easily match television or film in their ability to capture emotional truth.

But Bendis and his alone do not carry this issue, artist Sara Pichelli continues to deliver some of the best art of the year on this title. Pichelli is already well known for ability to add essential details to her illustration without overstuffing her panels (***coughJimLeecough***). Rather than rehash that praise, I’ll point to a couple of exemplary panels. Page 1, Panel 1 is an establishing shot of the hustle and bustle of Brooklyn focused on the varied faces of modern New Yorkers. The variety of faces in that panel is exemplary. There are no lookalikes or switched templates. Each face is unique and utterly human. The splash on page 14 is superb, delicately revealing the emotion on both Miles and his father’s face while showing that life goes on around them. Bendis is very lucky to have Pichelli on board with him because, despite the current praised heaped on writers, comics live and die based on the quality of their illustrations. As long as Pichelli continues to bring her gorgeous pencils to UCSM the comic should enjoy a long, prosperous existence.

While I’m hoping UCSM will enjoy a long run, this is just the beginning for Miles. By the end of this issue Ganke has reasoned that Miles is not a dreaded mutant but the survivor of a freak accident like the now-legendary Spider-Man, a conversation told completely through text. On that note, I’d like to heap some more praise on the writer, as many are wont to do these days. Bendis’ decision to eschew narration boxes in favor of a dialogue driven issue is not just inspired it’s a welcome. Today’s audiences, or at least those who Marvel and DC hope to court with initiatives like Ultimate Comics and the New 52, are used to entertainment, like television and film, that typically avoids narration. In using the non-narration approach, Bendis is delivering information in a more contemporary manner and delivering a product from the Big Two that is starting to look like it wants to shake off the shackles of tradition. To Bendis, again, I say kudos. Wisely, Bendis ends this issue where any story about Spider-Man should rightfully begin with Miles crawling the wall of his bedroom. Miles may be frightened of what comes next, but I, for one, am eager to see this kid ascend to the heights only spiders can reach.

Review - Ultimate Comics Spider-Man vol. 2 #1

Grade: A

Good: Amazing art, non-stereotypical characters, authentic dialogue and a plot that incorporates real-world phenomenon like lotteries for public charter schools are the highlights of the first chapter of the new Spidey’s story.

Bad: Bendis’ preference for decompression means no ‘Spider-Man’ action, at all.

Ugly: Me, after having to wait for the next issue. Thankfully, it’s less than two weeks away.

SPOILERS AHEAD

In the middle of DC Comics month-long stunt relaunch of its entire line, Marvel staged its own stunt: relaunching Ultimate Spider-Man sans Peter Parker (RIP) and leading with multi-racial teen Miles Morales as the face behind ol’ webhead.

The controversial response to Miles taking the Spider-Mantle has been “illuminating” to say the least. For as many fans who support and are genuinely enthused or proud of Marvel’s, and writer Brian Michael Bendis, in particular, decision there is a seemingly equal number who feel this change is an affront to the Comic Gods. In between are fans who are cautiously skeptical, aware that part of this is likely a stunt, but still relieved to see a measure of progress applied to one of the medium’s icons--albeit an alternate universe version, but. Count me as one of the fans in the middle. Yeah, I know it’s a timely stunt in light of increasing criticism of the whitewashed world of superhero comics, but I’ll be damned if I’m not the least bit proud to see someone who looks like me become one of my, and the world’s, favorite superheroes. Even more rewarding is seeing the story of Miles Morales begin with a level of quality and authenticity rarely given to superheroes of color.

Ultimate Comics Spider-Man opens its second volume with a fraction of a full story, but it is a fraction that is so replete with subtle charm and an attempt capturing the zeitgeist of the African-Latin-American experience in New York that it quickly and effectively rises above being a stunt. For the uninitiated, the Ultimate, now Ultimate Comics, imprint of Marvel comics is centered on an alternative Marvel Universe where Captain America swears, Samuel L. Jackson is Nick Fury and anyone can die, permanently. The Ultimate Universe was established by Marvel in the early 2000s as an initiative to entice readers with comics unhindered by Sisyphean continuity (sound familiar?). The imprint was fairly popular, boasting some of the top creators in industry for a number of years, until about 2005 when Marvel decided to reshape their main line, known as the 616 Universe, to align with the increasing popularity of movie releases like Spider-Man, X-Men, and, their first studio venture, Iron Man. With the 616 Universe returned to prominence, the Ultimate Universe fell by the waste side, culminating in a series of events where Ultimate versions of the X-Men and Avengers saw their ranks dwindle after a series of violent deaths by the hands of Magneto and his Brotherhood of Mutants. Earlier this year, the Ultimate version of Peter Parker met his own demise at the hands of a collection of his worst enemies—including the Green Goblin, Doctor Octopus and Kraven—popularly known as the Sinister Six. The tragically noble death of Peter Parker, who died protecting his beloved Aunt May and girlfriend Gwen Stacy, opened the door for Miles Morales to become the next Ultimate Spider-Man.

Miles’ story begins with the ultimate version of the Prowler, an African-American character who emerged in 1969 as a criminal-turned-hero dressed in a goofy purple and green ensemble. When the Prowler breaks into the ruins of Oscorp—the evil corporation run by Spidey’s archenemy Norman Osborn, the Green Goblin—to loot the one of its vaults, he leaves with a stowaway: a genetically engineered spider with remnants of Peter Parker’s DNA. From there, the story shifts to introducing Miles, an average thirteen-year old from Brooklyn, and his family as they make way to participate in one of those increasingly common and nerve-racking lotteries for students who wish to attend charter schools. At this point, it’s clear that not only has Bendis done his homework, or at least taken a passing glance at Madeline Sackler’s wonderful documentary The Lottery, but that he is aiming to incorporate some real-world authenticity into the realm of the fantastic. That's not to say that most comic writers don’t aim for such heights, but the world of superhero comics can at time seem so divorced from reality, and with good reason, that readers, and creators, forget to ensure their work is grounded in a world that at least reflects the real world.

Miles is lucky enough to win a spot at the Brooklyn Visions academy, which leads to his parents—something I also love about this comic: a minority child with TWO parents because that does actually happen—a moment that should ring true to any readers, of any race, who are parents and want more for their children. It is a touching, honest moment that is rare in the world of superhero comics, and I am absolutely pleased that Bendis had the sensitivity to include it. After the Lottery, Miles rushes to share the good news with his favorite uncle Aaron, a seeming ne’er-do-well who has a contentious relationship with Miles’ father. Aaron’s congratulatory words to Miles are colored by a tangible pride that echoes Miles’ parents’ response. Now, this may seems like a bit redundant in light of the earlier scene at the Lottery, but it is necessary to show how important the concept of hope is to people who have abandoned their own sense of hope. At this point Miles’ story intersects with Peter’s and starts to mimic the first Spider-Man’s origin. Miles’ uncle has the bag from the Prowler’s robbery sitting on his couch. When Miles plops down for a seat, he is bitten by the spider from Osborn’s lab. Miles collapses suddenly, waking just in time to see his father arrive and engage in a particularly heated argument with Miles’ uncle. Then, Miles disappears. Literally. He becomes invisible and the audience is left hanging on the edge of a cliff, not a very steep cliff, but a cliff nonetheless.

Now, decompression can be as much a bane to comics as overpricing and poor advertising, and the cliffhanger here, while peaking curiosity, isn’t all that welcome because the audience never sees Miles do anything remotely Spider-Man-like. For new readers, that will be beyond disappointing. But, for those familiar with Bendis’ style, this ending is par for the course. Luckily, there’s only a two-week wait until the next issue, and the issue was available for digital download, so that should help maintain interest. Hopefully.

As much as Bendis is on his game with this first issue, bringing his trademark ear for dialogue as well as sluggish pacing, Artist Sara Pichelli is the real draw (pun only partially intended). Pichelli’s rendition of Miles, his family and their fellow Brooklynites is positively sublime. Pichelli--best known for her work on the last volume of Ultimate Spider-Man, Runaways, and the similarly-themed NYX—illustrates with a keen eye for detail. Pichelli’s details are not superfluous exaggerations, as seen in Jim Lee’s art for the DCnU’s Justice League #1; rather, they are the details that make individuals unique. Her characters look like real people because they demonstrate idiosyncrasies in fashion, posture, and demeanor. Take a look at Page 13, Panel 4, when Miles get bitten by the Oscorp spider goes to his Uncle’s: he is rocking black and white Adidas shelltoes with untied wide red laces. That is an amazing, and contemporary, detail, and it is one of a dozen. Pichelli’s characters look alive and the world around them has true ‘lived-in’ quality. This is not a pristine, blue-sky version of New York; it is New York at its most grounded: endlessly cluttered and a just a wee bit dirty, even in the best parts of town. Perhaps the best example of the reality of Pichelli’s New York is Aaron’s ‘apartment’. For those who know, his apartment is housed within a ‘traditional’ apartment building; it’s in a housing project, which is obvious through design and color—a tip of the hat to colorist Justin Ponsor for making Pichelli’s work really pop—of the hall and the apartment’s interior, all without one hint of dialogue.

Between the art and the writing, Ultimate Comics Spider-Man vol. 2 is off to a superb, if slow-paced start. As a longtime fan, I know the drill: wait two to four weeks and there will be more story, but this is one of the few times I cannot wait for the next issue. Despite my enthusiasm, I am concerned about new readers because while I think this is a great starting point and generally solid, I know they may be discouraged about the value of picking up a fraction of a story, much less in a plastic bag that harkens back to the collector-inspired crash of the nineties and prevents them from flipping through before purchasing. Between Marvel’s collector-inspired polybagging and Bendis’ proclivity for sluggish pacing, trade-waiting may seem like the wisest option for both new and veteran readers. But, I promise this issue is well worth the money. Sure, it’s seems like a great start to a collection of negligible value, but it’s definitely a wonderful start to what seems like a great story.