As explored in my previous post, Comic Art 101, http://readinginsidetheboxes.blogspot.com/2011/10/comic-art-101-j-scott-campbell-skottie.html, comic book scripting is a unique and interesting component to developing and maintaining a strong comic narrative, where words accompany art to tell a story in a variety of ways. A great comic scriptor can communicate all elements of a scene that the artist will interpret and illustrate to move the story forward. Just as every artist is unique in their own style, each scriptor conveys their narrative in a unique manner. For this post, I'll be focusing on Mark Millar's script for Civil War, and Ed Brubaker's script for Captain America Volume 5. As each writer is distinct in their own notation, each artist conveys these cues into a finished artistic page, moving the story forward panel by panel. The unique element in each of these scripts is that the each artist has a similar style: Steve Epting for Brubaker's Captain America and Steve McNiven for Millar's Civil War both have a realistic style where characters have normal proportions and dimensions. As each artist is unique in their approach in how to communicate their story via story pages and artwork, each script writer will be just as unique. Comic Book scripting is a crucial component in developing a brilliant comic book for the masses to enjoy.
Again, as mentioned above, the artist in Brubaker's Captain America is Steve Epting. Epting utilizes a very realistic and proportioned style that accentuates the physical aspects of each character in a 'real world' perspective. Epting actually lists the full process for developing Captain America (volume 5) #40, where he interprets the script that Ed Brubaker provides. http://steveepting.blogspot.com/2008/07/page-process.html He explains how: "I'll usually go through and do thumbnails directly on the script pages as I'm reading it. These are generally quick impressions, and are subject to change (to put it mildly). Here's the thumbnail for page 11:" https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqDmey_8MHYdQNThYaVFb8JoOUBz1vbyqf6yp4Gc-uWM2RI-mWiYklOT-V1Vt-QWkLql9wFLYqnEyK4aUeYEJGnTi5uzpRdKBd4AbCaXCX6AgnJbBuKElpiqHMIwa3b7XR9zLH0vl3iftd/s1600-h/40111.jpg (Epting, Page Process). From this point forward, Epting then transforms his basic pencils into a more coherent whole, and then proceeds to ink those pencils: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbzbS-JUZ_EKGPz8paGRgoq6tA63WevIzermNz9AVfMK7RzwaKiOrgK_csnkm5LQzw5Vjfeljv8if_-sbbnZDU1fy-YxuxYfGpznE67afonpmGjQbSw1j1JtvVbDO0_GQZZm3-4u75hAS/s1600-h/40112.jpg and https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicqYwef_IVu8oRXuePfI6meejcVNUL-JlwiE-ITvkN5CKrg8OUkdRVatw5gxwRgDdVawgLbme2nGCrykrTs9dNcqEpRLOo6lmDTAczrjThzLm1eETiSrXh6BhIx4tsWga7ZwYrWTtn1TED/s1600-h/40114.jpg. These pages communicate the script notes, the angle of viewing, and all the elements of the story to be conveyed from only a small amount of notes. In this case, the writer is leaving the artist the resources to communicate this story to the best of their ability. Epting is brilliant for being able to take a small idea with even smaller notes, and then take those notes and make incredible art out from them. When the inked pencils are complete, the page goes to the colorer to complete the process: https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0YKKnd6elrv6-jpUyko-VeEseq-wdmXsSB26j4oQ3a5Cyl3DRA3pXVJTpoRT7i2252Jw0tmwXMMu2SIbhMURiEqpPxln72EGUcpdbBzBPObK1NKzBztY7ymdaH1WP6i_bogowqkheDXpk/s1600-h/40115.jpg. Epting explains how:
"Finally, it's uploaded to the folks at Marvel, who then pass it on to the one and only Frank D'Armata for coloring-- and that's that. I don't follow these steps exactly for every page, but for the most part this is how it's done. I'm constantly trying to tweak this process and eliminate steps in an attempt to increase speed and production, so this is all subject to change" (Epting, Page Process).
This collaborative process ensures that great comic material is developed each week, month, etc. for the reader to enjoy. Epting's art is very kinetic and based in realism so each character has accurate proportions and moves in the real world around them. Though these are fantastic characters, the artistic flair of Steve Epting allows for the reader to enjoy the story that much more. Captain America has no natural superpowers, but is an enhanced super soldier, capable of incredible feats that an average man wouldn't dream of being able to complete. With the series grounded in realism, this style fits the story like a glove. Another noteworthy story that was grounded firmly in realism when considering public disdainwas Marvel's Civil War where a similarly styled artist, Steve McNiven, brought the flair for the realistic to this landmark story to enhance and solidify this (fictionalized) real-world narrative.
Though Ed Brubaker has his own methods of developing comic pages (as viewed above) Mark Millar has his own voice in how his vision is conveyed. This is most evident in the opening pages of Civil War. This story is firmly grounded in realism, and an artist with a flair for realistic proportions and style was needed to legitimize the seriousness of this dramatic story where superheroics are handled in the real world. Though the story is of dangerous superhumans battling to the death at the cost of human life, Millar communicates these pages in fine detail, with a clear tone to Steve McNiven to develop and draw to move this story forward. Millar begins the story breakdown panel by panel by mentioning how McNiven should:
"PAGE EIGHT AND NINE: Cut to just a few hours later and a double-page spread where, most prominently, we see Captain America and Iron Man standing in full-figure shots in the ruins of this place. It looks like a Hiroshima picture with burned bones everywhere. The place is in darkness and we see lots of Avengers and X-men helping out here with the rescue effort, everyone wearing oxygen masks and working with the official rescue workers. Cap and Iron Man are just surveying the quite awesome damage here. I see this as a full-figure shot of Iron man and Cap (one on each page) but you're the boy, Steve McNiven. Your call" (Millar, Script Book, 9).
Following Millar's brilliant script, McNiven translates these disparate notes into this incredible 2-page spread illustrating Millar's vision for the horrific damage following Stamford's destruction: http://images4.wikia.nocookie.net/__cb20060406214421/marveldatabase/images/7/76/Civil_War_Opening_Shot_Sketchbook_Vol_1_1.jpg http://www.dailyhaggis.com/wp-content/uploads/2006/07/civilwar01.jpg
Again, much like Steve Epting above, Steve McNiven has taken Mark Millar's notes and created a breathtaking artistic representation that communicates the death of innocents, the future struggle between Iron Man and Captain America as both are on opposite sides of the future law, and convey's Millar's vision of the damage. McNiven's pencils are completed, inked and colored and finally enhanced with Millar's notes and captions to fully communicate the horrific scene depicted. An artist is only as strong as his best scriptor, and both Millar and Brubaker show this skill masterfully through their artists Steve Epting and Steve McNiven.
A comic book scriptor is the architect who designs and envisions where a story will ultimately end up, with a prominent artist to convey those designs in an artistic fashion. As comic book crafting is a collaborative process, the ability for both parties to write and illustrate is an impressive thing to consider, as each party is key to taking a brilliant (or abstact) idea, while communicating it in a way that convey's the writer's initial vision, moving the story forward. Not many forms of written media can duplicate what comics can, and the key to this unique medium's continued success is the collaborative process between descriptive scriptors, and the brilliant and talented artists that communicate those notes. These are only two noteworthy examples, but there are a myriad of talented writers and artists that push the boundaries of this medium every day.
Monday, October 10, 2011
Wednesday, October 5, 2011
Comic Art 101: J. Scott Campbell, Skottie Young and Jim Lee
Comics and Graphic Novels have two distinct elements: one part is text and scripting, another is sketching, inking and coloring. Comics and Graphic Novels are unique in the sense that both pieces work in tandem to tell the story. Great comic artists are amazing in their own right, even under deadlines to meet monthly, bi-weekly or even weekly art commitments. I've selected 3 great artists in the comic book field, each with their own unique vision and approach to comic art.
The basics of Comic Artwork is the original (real or digital) pencil sketch which provides the skeleton which is how the picture take shape. The artwork then moves to the inker who enhances the pencils of the original artist, adding touches of light and shadow and depth to the artwork for effect. A great inker can enhance the original artwork and add perspective to a 'static' comic panel. Great pencilers and inkers go hand-in-hand when producing superb comic artwork. One of the best in the business is J. Scott Campbell.
J. Scott Campbell draws Harley Quinn, a supervillainess from Batman for an artwork commission. This is Campbell in action: http://www.youtube.com/watch?v=7xuOk4LnY5s He starts off by drawing the base framework of the art by using pencils. Next, he fills in those pencils (3:13) by using a marker. Campbell inks his own drawing, and fills in the minute details that really make the artwork pop. From this point forward, the art can then move to the colorist to fill in the appropriate areas. A great artist has an incredible inker to add perspective to the sketch, and the colorist builds on the previous labors of penciler and inker. Though Campbell pencils and inks his drawing, the white space is generally red on the character's profile. A great colorist can enhance any comic artist's previous efforts in a collaborative process. Some artists manage pencil, ink and color their own artwork brilliantly.
Skottie Young is a unique artist that is recognized for his distinct artistic style, and is the regular artist for Marvel's adaptation of The Wizard of Oz. Here are just some of his fantastic efforts on display: http://skottieyoungstore.bigcartel.com/products Skottie sketches, inks and colors his daily sketches, but uses computer programs to enhance his pencils, inks, etc. Again, his very stylized and unique art style is expressive, but retains a sense of wonder and oddness that stands out among other artists. Skottie inks a cover for The Wizard of Oz adaptation: http://www.youtube.com/user/skottieart#p/u/8/XdsEsb_CcKQ Again, Skottie pencils the sketch before inking it digitally, but uses the tools available to bring out the depth and shadow that he wishes to convey from the sketch. By using these inking tools, he can make changes easily without damaging the original sketch. Skottie has penciled and inked many of his own works for various comic companies which is an incredible feat: http://www.skottieyoung.com/p/about.html Generally speaking, comic book art is a three step process, penciling, inking and coloring, but sometimes one artist can complete all aspects of it.
Jim Lee is one such artist. Lee pencils, inks and colors this commissioned piece of The Joker from Batman: http://www.youtube.com/watch?v=Es00TDfFQPY This is a fantastic example of the comic art process in action. He starts with 'pencils' with light marker lines, fills in the more defined lines with marker, and then fills in the subtle details with red marker highlights. Jim Lee is one of the most dynamic and revered artists in the field, and is a regular contributor to DC comics. Jim's pencils have an incredible amount of detail within them initially, but when inked and enhanced, the true mastery of his artwork shines through. In this pencil drawing from Batman: Hush, Jim Lee has an incredible amount of detail in the initial stages of his work. When applying the colors and inks to the drawing, the brilliance of his detail work shines through: http://scifimafia.com/wp-content/uploads/2010/11/hush1.jpg The detailing and cleanup of those initial lines is brilliantly rendered with the additional detail. The small details and embellishments in Lee's artwork convey a large field of vision, and brilliant shadowing and depth are brought to the surface with the colored art on the right.
There are hundreds of incredibly skilled pencilers, inkers and colorists in the field of Comic Books/Graphic Novels, but being a great artist is a collaborative process. Though Comic Book art can convey the simplest aspects the script writer lays out, great art takes on a life of its own when all the pieces are in place. Comic Book art is as integral to the direction of the story as the words on the page, but both aspects are needed for a great comic book to tell a great story. Sometimes, a picture tells 1000 words. This is such a picture: http://www.youtube.com/watch?v=_xp_tY4KNhI&feature=related This is a magnificent example of an incredible artist creating incredible artwork for incredible stories. Comic Books and Graphic Novels are like no other medium in print, especially when backed by spectacularly talented artists.
The basics of Comic Artwork is the original (real or digital) pencil sketch which provides the skeleton which is how the picture take shape. The artwork then moves to the inker who enhances the pencils of the original artist, adding touches of light and shadow and depth to the artwork for effect. A great inker can enhance the original artwork and add perspective to a 'static' comic panel. Great pencilers and inkers go hand-in-hand when producing superb comic artwork. One of the best in the business is J. Scott Campbell.
J. Scott Campbell draws Harley Quinn, a supervillainess from Batman for an artwork commission. This is Campbell in action: http://www.youtube.com/watch?v=7xuOk4LnY5s He starts off by drawing the base framework of the art by using pencils. Next, he fills in those pencils (3:13) by using a marker. Campbell inks his own drawing, and fills in the minute details that really make the artwork pop. From this point forward, the art can then move to the colorist to fill in the appropriate areas. A great artist has an incredible inker to add perspective to the sketch, and the colorist builds on the previous labors of penciler and inker. Though Campbell pencils and inks his drawing, the white space is generally red on the character's profile. A great colorist can enhance any comic artist's previous efforts in a collaborative process. Some artists manage pencil, ink and color their own artwork brilliantly.
Skottie Young is a unique artist that is recognized for his distinct artistic style, and is the regular artist for Marvel's adaptation of The Wizard of Oz. Here are just some of his fantastic efforts on display: http://skottieyoungstore.bigcartel.com/products Skottie sketches, inks and colors his daily sketches, but uses computer programs to enhance his pencils, inks, etc. Again, his very stylized and unique art style is expressive, but retains a sense of wonder and oddness that stands out among other artists. Skottie inks a cover for The Wizard of Oz adaptation: http://www.youtube.com/user/skottieart#p/u/8/XdsEsb_CcKQ Again, Skottie pencils the sketch before inking it digitally, but uses the tools available to bring out the depth and shadow that he wishes to convey from the sketch. By using these inking tools, he can make changes easily without damaging the original sketch. Skottie has penciled and inked many of his own works for various comic companies which is an incredible feat: http://www.skottieyoung.com/p/about.html Generally speaking, comic book art is a three step process, penciling, inking and coloring, but sometimes one artist can complete all aspects of it.
Jim Lee is one such artist. Lee pencils, inks and colors this commissioned piece of The Joker from Batman: http://www.youtube.com/watch?v=Es00TDfFQPY This is a fantastic example of the comic art process in action. He starts with 'pencils' with light marker lines, fills in the more defined lines with marker, and then fills in the subtle details with red marker highlights. Jim Lee is one of the most dynamic and revered artists in the field, and is a regular contributor to DC comics. Jim's pencils have an incredible amount of detail within them initially, but when inked and enhanced, the true mastery of his artwork shines through. In this pencil drawing from Batman: Hush, Jim Lee has an incredible amount of detail in the initial stages of his work. When applying the colors and inks to the drawing, the brilliance of his detail work shines through: http://scifimafia.com/wp-content/uploads/2010/11/hush1.jpg The detailing and cleanup of those initial lines is brilliantly rendered with the additional detail. The small details and embellishments in Lee's artwork convey a large field of vision, and brilliant shadowing and depth are brought to the surface with the colored art on the right.
There are hundreds of incredibly skilled pencilers, inkers and colorists in the field of Comic Books/Graphic Novels, but being a great artist is a collaborative process. Though Comic Book art can convey the simplest aspects the script writer lays out, great art takes on a life of its own when all the pieces are in place. Comic Book art is as integral to the direction of the story as the words on the page, but both aspects are needed for a great comic book to tell a great story. Sometimes, a picture tells 1000 words. This is such a picture: http://www.youtube.com/watch?v=_xp_tY4KNhI&feature=related This is a magnificent example of an incredible artist creating incredible artwork for incredible stories. Comic Books and Graphic Novels are like no other medium in print, especially when backed by spectacularly talented artists.
Monday, October 3, 2011
Nihilism of Thanos
Many supervillains seek to eliminate their foes, or to make a name for themselves in the superpowered community, but few are total agents of death like Thanos. Thanos is a galactic supervillain that seeks to honor his mistress, Death. Thanos worships this otherworldly entity and seeks to eliminate any life to thrill her. She brought him back from the afterlife to be a harbinger of bloodshed and violence. Seeing as he is a naturally powerful individual on his own, when augmented with the Infinity Gauntlet in the 1991 storyline, he becomes even more capable of annihilating life in the universe. He can turn characters into toy blocks, skin into glass and manipulate reality to kill any in his way. Thanos is an agent of death, and a brilliant representation of Nihilism in the Comic Book form. http://www.comicvine.com/infinity-gauntlet/39-42233/ http://www.iep.utm.edu/nihilism/
As previously mentioned, Thanos is brought back from the dead and augmented with the Infinity Gauntlet which is comprised of gems that manipulate power, alter reality, augment physical abilities, make wishes that break scientific laws, manipulate minds, and manipulate spirits that are living or dead. Thanos is already a formidable enemy in his own right, but when enhanced with the Infinity Gauntlet, he nearly eliminates half of the life in the universe to please his mistress, Death. To say that Thanos enjoys his work is an understatement, but he truly seeks to enter Death's good graces as he idolizes her powerful hold on the universe. This is perfectly communicated by the space-faring soldier,Silver Surfer:
"Apparently Death has long thought the fact that there are more people alive today than have ever died was a type of cosmic imbalance. This was an irregularity that she sought to right using the dark powers at her disposal. And so she made the tragic mistake of retrieving Thanos, the mad titan, from the realm of the dead. Through him, Death would mold the universe to her liking. Along with renewed life, Death gave him greatly augmented power. Death has ordered Thanos to slaughter half of the sentient population of the universe" (Starlin, Infinity Gauntlet #1, page 9-10)!
Thanos literally becomes an agent of death, seeking to please his handler and lover, Death. In her vision, life cannot be too abundant in the universe, and she revives Thanos to return the universe to cosmic balance. Thanos is all too willing to enact her decree and begins to eliminate life in broad strokes. In the above description, Thanos is a living weapon, molded to serve his dark master to kill sentient life to appease her. Thanos is capable of eliminating scores of living beings throughout the universe on a whim.
This doesn't mean that their relationship is healthy or 'normal' by any stretch of the imagination, as Death uses Thanos as a tool and nothing more. She is a fickle mistress and is only appeased when millions of deaths are at his hands. She is upset that Thanos killed the protectors of the gems, her celestial bretheren to gain ultimate power over reality. Thanos is upset at her disdain, and seeks to gain her favor again:
"Darling mistress, your scorn wounds me deeply. It was never my intention to wrong you nor, do I believe, I have. True, I did use the powers you granted me to seek out the infinity gems, to become the supreme being that now stands before you. But I only sought such glory to be worthy of your love. Your love is bondage. NO! You are WRONG! Death should be revered! We shall decide the fate of a million solar systems and all that inhabit them" (Starlin, Gauntlet, 21-22)!
Thanos is the perfect combination of both danger and ignorance. Since he doesn't realize he is being used as an instrument for his Death's whims, he continues to kill indiscriminately to appease her and gain her approval. In this exchange, it becomes clear that Thanos will do anything to gain her approval, even if it means killing entire solar systems or decimating billions of sentient beings. Thanos' danger comes in his violent manipulation of the Infinity Gems, but his true danger comes in his disregard for all life in order to appease Death. He is also incredibly frustrated with her spurning: "Did I not butcher the woman who gave me birth, who force fed me this Hell called life?! Death is with me every second of the day!! My every moment is spent in either dealing out Death or worshiping it!! Who under the stars is better suited than I to be Death's Consort (Starlin, Gauntlet, 26-27)?
Though Thanos is frustrated with his situation, he still takes it in stride to murder. In order to gain Death's affection, he begins to systematically eliminate the Marvel superheroes one by one in unique and horrific ways. He begins by having two heroes skin dissolve incredibly quickly, encasing another in a box of glass where he suffocates and another's bones into rubber where they collapse and die. He shows off for Death by manipulating reality: "Good God! Thanos has turned Thor into glass!! Back off, prune face! No one's bustin' up Thor while Nova's around! Not round. Square. Square as in cubes. Like a child's toy blocks (Starlin, Gauntlet #4, 31). Thanos then proceeds to crush Nova (in block form) into dust, while shattering Thor into glass shards with a flick of his wrist. He is playing with his prey, and relishing in the display of complete power, but to no avail. While he is the most powerful being in the known universe, Death is still ambivalent. Thanos then flaunts his full wrath, eliminating entire solar systems in his blind rage: "Entire Solar Systems in the immediate vicinity are ravaged by the effects of this celestial clash. Calculating the billions of lives lost as a result of this confrontation will have to wait (Starlin, Gauntlet #5, 9).
His wrath and spurned rage costs billions of sentient beings their lives as his gauntlet extinguishes lives with a flick of his wrist. This boundless slaughter has the opposite effect of what he's seeking for Death. She is disgusted with his display and is finished with the titan. Thanos is then humbled and shocked that he has done his job too well. Thanos is defeated and eventually loses control of his gauntlet as the heroes rebuild reality. It took the complete eradication of reality and billions upon billions of lives for Thanos to realize that he was being manipulated by Death for her own ends. Thanos in all his nihilistic glory realizes the error of his ways, though galaxies were eliminated to find true cosmic balance. She is turned off by the excessive killing Thanos displays and ultimately loses his grip on sanity. This magnificent miniseries shows the destructive nature of lover's spurned and how an individual with ultimate power can carve a murderous rampage throughout worlds, galaxies, etc. to prove a point. Thanos truly loved Death and wanted to do anything to gain her favor. He is a tragic, nihilistic figure that kills scores of beings to achieve his goals. Thanos is the ultimate nihilist in Comic Book fiction.
As previously mentioned, Thanos is brought back from the dead and augmented with the Infinity Gauntlet which is comprised of gems that manipulate power, alter reality, augment physical abilities, make wishes that break scientific laws, manipulate minds, and manipulate spirits that are living or dead. Thanos is already a formidable enemy in his own right, but when enhanced with the Infinity Gauntlet, he nearly eliminates half of the life in the universe to please his mistress, Death. To say that Thanos enjoys his work is an understatement, but he truly seeks to enter Death's good graces as he idolizes her powerful hold on the universe. This is perfectly communicated by the space-faring soldier,Silver Surfer:
"Apparently Death has long thought the fact that there are more people alive today than have ever died was a type of cosmic imbalance. This was an irregularity that she sought to right using the dark powers at her disposal. And so she made the tragic mistake of retrieving Thanos, the mad titan, from the realm of the dead. Through him, Death would mold the universe to her liking. Along with renewed life, Death gave him greatly augmented power. Death has ordered Thanos to slaughter half of the sentient population of the universe" (Starlin, Infinity Gauntlet #1, page 9-10)!
Thanos literally becomes an agent of death, seeking to please his handler and lover, Death. In her vision, life cannot be too abundant in the universe, and she revives Thanos to return the universe to cosmic balance. Thanos is all too willing to enact her decree and begins to eliminate life in broad strokes. In the above description, Thanos is a living weapon, molded to serve his dark master to kill sentient life to appease her. Thanos is capable of eliminating scores of living beings throughout the universe on a whim.
This doesn't mean that their relationship is healthy or 'normal' by any stretch of the imagination, as Death uses Thanos as a tool and nothing more. She is a fickle mistress and is only appeased when millions of deaths are at his hands. She is upset that Thanos killed the protectors of the gems, her celestial bretheren to gain ultimate power over reality. Thanos is upset at her disdain, and seeks to gain her favor again:
"Darling mistress, your scorn wounds me deeply. It was never my intention to wrong you nor, do I believe, I have. True, I did use the powers you granted me to seek out the infinity gems, to become the supreme being that now stands before you. But I only sought such glory to be worthy of your love. Your love is bondage. NO! You are WRONG! Death should be revered! We shall decide the fate of a million solar systems and all that inhabit them" (Starlin, Gauntlet, 21-22)!
Thanos is the perfect combination of both danger and ignorance. Since he doesn't realize he is being used as an instrument for his Death's whims, he continues to kill indiscriminately to appease her and gain her approval. In this exchange, it becomes clear that Thanos will do anything to gain her approval, even if it means killing entire solar systems or decimating billions of sentient beings. Thanos' danger comes in his violent manipulation of the Infinity Gems, but his true danger comes in his disregard for all life in order to appease Death. He is also incredibly frustrated with her spurning: "Did I not butcher the woman who gave me birth, who force fed me this Hell called life?! Death is with me every second of the day!! My every moment is spent in either dealing out Death or worshiping it!! Who under the stars is better suited than I to be Death's Consort (Starlin, Gauntlet, 26-27)?
Though Thanos is frustrated with his situation, he still takes it in stride to murder. In order to gain Death's affection, he begins to systematically eliminate the Marvel superheroes one by one in unique and horrific ways. He begins by having two heroes skin dissolve incredibly quickly, encasing another in a box of glass where he suffocates and another's bones into rubber where they collapse and die. He shows off for Death by manipulating reality: "Good God! Thanos has turned Thor into glass!! Back off, prune face! No one's bustin' up Thor while Nova's around! Not round. Square. Square as in cubes. Like a child's toy blocks (Starlin, Gauntlet #4, 31). Thanos then proceeds to crush Nova (in block form) into dust, while shattering Thor into glass shards with a flick of his wrist. He is playing with his prey, and relishing in the display of complete power, but to no avail. While he is the most powerful being in the known universe, Death is still ambivalent. Thanos then flaunts his full wrath, eliminating entire solar systems in his blind rage: "Entire Solar Systems in the immediate vicinity are ravaged by the effects of this celestial clash. Calculating the billions of lives lost as a result of this confrontation will have to wait (Starlin, Gauntlet #5, 9).
His wrath and spurned rage costs billions of sentient beings their lives as his gauntlet extinguishes lives with a flick of his wrist. This boundless slaughter has the opposite effect of what he's seeking for Death. She is disgusted with his display and is finished with the titan. Thanos is then humbled and shocked that he has done his job too well. Thanos is defeated and eventually loses control of his gauntlet as the heroes rebuild reality. It took the complete eradication of reality and billions upon billions of lives for Thanos to realize that he was being manipulated by Death for her own ends. Thanos in all his nihilistic glory realizes the error of his ways, though galaxies were eliminated to find true cosmic balance. She is turned off by the excessive killing Thanos displays and ultimately loses his grip on sanity. This magnificent miniseries shows the destructive nature of lover's spurned and how an individual with ultimate power can carve a murderous rampage throughout worlds, galaxies, etc. to prove a point. Thanos truly loved Death and wanted to do anything to gain her favor. He is a tragic, nihilistic figure that kills scores of beings to achieve his goals. Thanos is the ultimate nihilist in Comic Book fiction.
Friday, September 30, 2011
The Altruism of Deadman
To give unselfishly to others is a reward unto itself, but when it directly benefits others in a positive way, it is truly worthwhile. Deadman is a character that makes the best of a bad situation. Boston Brand/Deadman died in a horrific way while performing in a circus and was bestowed the gift of eternal life as a spirit, though he is fated to improve the lives of others to remain conscious and whole in his ethereal form. As Deadman, Boston Brand is doing more good in death than he ever could in life. Though he is motivated to remain alive, his ability to turn lives around for the better is a true indicator of altruistism.
Though Deadman seeks to remain among the 'living,' his leaps from one person to another turns their lives to a more positive path. He can influence the decision-making of any individual, and improves their quality of life in the process. Boston/Deadman explains this quite clearly:
"I've lived lifetimes. More than I can count. I've done my best as to help many people as I can. I've changed since I first took on this gig. Used to be, I liked the thrill of the ride, helping interesting people solve their interesting problems. I've been a stuntman and a a spy and a police detective. But lately it's been more people like this guy--Johnny Foster--who made it home minus his legs when all of his buddies were killed by an I.E.D. Lucky Him" (Jenkins, DC Universe Presents: Deadman, 9-12).
Boston Brand influences and changes lives for the better more frequently than he realizes. He has lived the fantasy lives he'd wished for in his human existence, but now is seeking to help those that are truly down on their luck and needing a change in their lives. In this case, Deadman is seeking to help a guilt-ridden soldier manage to find peace after tragedy and horrific disfigurement. Johnny, Boston's vessel, has completely imploded into himself and is refusing any help to cope with his personal hell. Though he doesn't know this man personally, Boston is compelled to help him overcome his adversity to find personal redemption with only a gentle push. Boston is seeking to atone for being a self-absorbed jerk in his previous life:
"I was not a good man. That's why I'm living out lifetimes with no end in sight. At first, I knew what I was supposed to do. I put together the interesting jigsaw puzzle lives of strangers. Johnny Foster becomes another living brick on my path to enlightenment. Another innocent soul about to get stuck to my shoe. Well, maybe I was never a good guy, and maybe I was never the really big fish. But if there's one thing I do know from living other people's lives it's that I've changed" (Jenkins, Deadman, 24-26).
Deadman realizes that in doing better by others while improving their lives, he can ultimately better himself. This isn't a selfish action, but a selfless action, as he is seeking to pay back all the harm that he's done in his former life as a 'bad man.' Though he knows he is doing important work in the universe through his actions, he is still incredibly conflicted about the 'good' he is truly accomplishing: "A young soldier with a brain injury and no legs is about to become my responsitibility. What eventually happens to him is going to be my fault. All of thsoe people...all of the bricks..."(Jenkins, 16). This symbiotic relationship improves both Boston's life and Johnny's life in the process. Though he is seeking to remain a part of the living world, Boston Brand/Deadman is altruistic in the sense that he improves lives at his expense. Though he may not realize it, Deadman is a brilliant example of altruism in the Comic Book Form.
Though Deadman seeks to remain among the 'living,' his leaps from one person to another turns their lives to a more positive path. He can influence the decision-making of any individual, and improves their quality of life in the process. Boston/Deadman explains this quite clearly:
"I've lived lifetimes. More than I can count. I've done my best as to help many people as I can. I've changed since I first took on this gig. Used to be, I liked the thrill of the ride, helping interesting people solve their interesting problems. I've been a stuntman and a a spy and a police detective. But lately it's been more people like this guy--Johnny Foster--who made it home minus his legs when all of his buddies were killed by an I.E.D. Lucky Him" (Jenkins, DC Universe Presents: Deadman, 9-12).
Boston Brand influences and changes lives for the better more frequently than he realizes. He has lived the fantasy lives he'd wished for in his human existence, but now is seeking to help those that are truly down on their luck and needing a change in their lives. In this case, Deadman is seeking to help a guilt-ridden soldier manage to find peace after tragedy and horrific disfigurement. Johnny, Boston's vessel, has completely imploded into himself and is refusing any help to cope with his personal hell. Though he doesn't know this man personally, Boston is compelled to help him overcome his adversity to find personal redemption with only a gentle push. Boston is seeking to atone for being a self-absorbed jerk in his previous life:
"I was not a good man. That's why I'm living out lifetimes with no end in sight. At first, I knew what I was supposed to do. I put together the interesting jigsaw puzzle lives of strangers. Johnny Foster becomes another living brick on my path to enlightenment. Another innocent soul about to get stuck to my shoe. Well, maybe I was never a good guy, and maybe I was never the really big fish. But if there's one thing I do know from living other people's lives it's that I've changed" (Jenkins, Deadman, 24-26).
Deadman realizes that in doing better by others while improving their lives, he can ultimately better himself. This isn't a selfish action, but a selfless action, as he is seeking to pay back all the harm that he's done in his former life as a 'bad man.' Though he knows he is doing important work in the universe through his actions, he is still incredibly conflicted about the 'good' he is truly accomplishing: "A young soldier with a brain injury and no legs is about to become my responsitibility. What eventually happens to him is going to be my fault. All of thsoe people...all of the bricks..."(Jenkins, 16). This symbiotic relationship improves both Boston's life and Johnny's life in the process. Though he is seeking to remain a part of the living world, Boston Brand/Deadman is altruistic in the sense that he improves lives at his expense. Though he may not realize it, Deadman is a brilliant example of altruism in the Comic Book Form.
Thursday, September 29, 2011
The Absolutism of Cable
Average people seek to make changes in the world through volunteering, donating their time or money, or simply helping a neighbor who is struggling. Organizations seek to do the most good with their resources such as the Red Cross. In the comic book world of Cable and Deadpool (2004), the character Cable develops a "God Complex" and truly believes that he can save the world from itself by uniting all people under his rule, despite their consternation. He seeks to eliminate racism, classism, and end nearly all human suffering. Cable builds a floating fortress in the sky, and truly believes he is doing the most good through his actions. It later is discovered that his actions are creating more strife and agony for those that don't see or share his vision of the world, as he is mentally manipulating these people into utopia. This character illustrates a clear case of Absolutism.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Though possessing a slightly inflated ego, Cable truly has the ability to reshape the world as he sees fit. He is an incredibly gifted telepath that can manipulate the world around him. In an interview with his good friend for publication, he explains the rationale behind his actions:
"'I'm sorry, does it bother you? Turning people's skin pink, changing it back and saying 'don't bother thanking me, just be glad I'm here' raising chunks of debris from all over the earth and sculpting a floating sanctuary?---Should I go on?' 'Please do. It sounds more impressive when you run it all together... 'Four days rerouting waterways to flood half the Sahara, two days to throw every single logger out of the Amazon rain forest, two hours a day soothing the pain of every single person on the planet dying of any kind of disease---' 'Well, two hours where that is my only focus. I'm doing it right now, too.' 'You think this is funny?' 'My mission or this interview?' 'Let's talk about your mission.' 'I want to save the world.' 'What would you call---' 'I can read minds, Irene---I can read yours too---I know what people want''' (Nicenza, Cable and Deadpool #7, pg. 8-9).
Cable is in the unique position of determining the needs and wants of those in pain by reading their minds and determining what they truly need of him. The hubris in this plan removes any semblance of choice for these individuals about precisely what direction their lives move in, though it is often for the greater good. In this process, though, he makes it difficult to say no, as his abilities drastically improve their lives and the world. Cable leaves no choice: join him or suffer from the trappings of human existence.
Furthermore, once he becomes too much of a threat to the world powers at large, as they don't know his true motives, they seek to eliminate his iron grip on the world. Cable, in his absolutist mentality, feels that the world powers are seeking to destroy his utopia, while oblivious of the fact that his worldwide reshaping has had dire consequences. The world powers seek to obliterate Cable's manipulation of free will. This cold, calculating nature manifests itself in a dialogue with Cyclops, a fellow X-men (mutant super-hero) member:
"'Let me go through with this, Scott. Please. Just a little while longer.' 'Until the world blows itself up trying to stop you---or until you kill yourself?' 'I know what I'm doing. Seriously. Absolutely. Completely. I can read everybody's mind. I can turn spark to flame, give people a reason to hope--nudge them away from prejudice, greed--'Nudge?' 'Not like that! Show them the path, hold their hand for the first few steps down the road--' 'which is paved with good intentions. You can convince anyone...by hook or crook? The ends justify the means? That's befitting of our savior'" (Nicenza, C&D #9, 19)?
Even among his peers, Cable's plan seems very foolhardy. He cannot rationalize his actions, outside of the mantra of "the ends justify the means." Despite his removal of choice for any human being that follows his direction and brainwashing, regardless of the "good" it is doing, Cable cannot see the harm he is causing. His intentions to nudge people out of racism or greed is noble, but at what cost? If true social change can occur, it cannot be forced upon those who truly seek a better world. Through Cable's plan, there is no choice, only conformity. Cable's absolutism removes any opportunity for a better life on humanity's own terms, or through their own actions. His manipulation threatens the strength and integrity of the world as a whole by attempting to unify it.
Finally, Cable's hubris comes (literally) crashing down around him as his utopian experiment succumbs to the weight of his opposition. In his strategical planning, he couldn't fathom a being who could truly challenge his immense powers that could destroy his floating fortress. Cable's arrogance and hubris have damned all aboard his "paradise." This horrific scenario becomes apparent once the other X-men seek to bring down Cable's utopia, Providence: "--We have a problem, these gravity generators are just props.' 'Repeat that?' 'They're not doing anything, Scott. This entire time, the island has been kept afloat by Cable's telekinesis'" (Nicenza, C&D #10, 15)!!
In his arrogance to unite the world by force, Cable has reshaped the world for the greater good, by removing any semblance of free will. As soon as his sanctuary was threatened, the entire weight of his utopia fell as soon as Cable's grip did. The strength and vitality of his mental hold on the world, coupled with his absolutism through conformity, provided a true sense of peace. His boundless invasion of consciousnesses healed the world's ills, while forcing humanity to comply with a despot's warnings of a grim future ahead. Cable simply wanted to prove the could change the world by force. Cable is a clear example of absolutism at its most invasive.
Sunday, September 25, 2011
The Pessimism of Penance
A common idiom about the true nature of good deeds is that "The road to Hell is paid with good intentions." This is the case for Robbie Baldwin, who makes a foolhardy decision that costs 600+ people their lives in the Stamford Disaster which starts the Superhero Civil War as explored in previous postings. Robbie takes his poor decision to heart, and believes that his suffering is what he deserves in life as he carries all those tragic deaths on his shoulders. Robbie's transformation into "Penance" is indicative of his guilt and dark pessimism. Robbie suffers time and again in order to atone for his wrongdoing, as he is violently assaulted and ridiculed by the public and those close to him. His own family eventually deserts him to distance themselves from their "terrorist" son. Robbie truly believes that he deserves all the suffering he undergoes, and eventually befriends the horrors he faces daily in order to transform from a happy-go-lucky superhero, into a dark, tortured and violent supervillain. Robbie's transformation is a tragic view of one man's journey into a pessimistic, tortured soul.
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
As explored above, Robbie's poor decision leads to the deaths of 600+ people in the Stamford Disaster, which he narrowly survives. Robbie is incarcerated as an unregistered combatant and co-conspirator in the Stamford disaster, which makes him public enemy number one for average people that feel superheroes are too dangerous to remain autonomous. This is perfectly illustrated in an exchange between Robbie and a prison guard:
"'Look...You guys have family, right? I mean, just let me get a message to someone. You guys look pretty smart. You know this is bull-- (Robbie punched by guard)' 'Yeah...I got a family. As a matter of fact, I got a cousin in Stamford, Connecticut. I used to have. And she died 'cause some attention-seeking moron in a costume decided to record a crime-fighting spree on National TV'" (Jenkins, Frontline, 51).
Robbie is truly hated for his actions, and cannot escape what he's done. Robbie doesn't initially believe that he has done any wrong in the stunt, and maintains his innocence until it becomes too much to bear. Robbie eventually accepts that he is hated and becomes more sarcastic and angry as his struggles continue in prison. This eventually boils over into a dialogue with his mother as he argues with her over his plight. He and his mother argue during visiting hours, his mother stating how:
"You could die in this place! What's happened to you, Robbie? They described you as 'The most hated man in America!' Do you have any idea how it feels for a mother to hear that about her son? Do you? I love you. Nothing can change that---" 'Hey! This was fun right? Next time, see if Dad wants to come! I sure miss listening to both of you shout at me at once!' 'There won't be a next time, Robbie. I'm never coming back'" (Jenkins, FL 116-118).
This exchange sets the trajectory for Robbie's sharp mental decline into motion. Though he doesn't consider himself to be 'the most hated man in America,' he still doesn't take his mother's words at face value until she states her removal from his life. At this point, Robbie's world is turned upside-down, and he begins his slow, bitter decline. This manifests once Robbie is transferred into an inter-dimensional prison, and describes the horrors he lives with in a letter to his mother: "Dear Mom... Wish you were here. (sic) My buddy in the next cell was called Jonathan. Back in the real world, he used to be called Digitek. He told me that when he was a hero, he had the power to re-form parts of his body into machinery, or weapons. Yesterday, Jon formed an M-110 particle shotgun out of his right arm,... and then blew his own head off. Not that it matters, you probably won't ever get this letter" (Jenkins, FL 172-173). Robbie's world becomes darker and darker, as his struggles become more and more difficult to fathom, let alone coming to grips with a suicide only a room over from him. The pessimism of his plight begins to seep into his personality, until it becomes too much to bear, and Robbie accepts his culpability in the Stamford disaster.
During a prison breakout, Robbie is pinned by a violent offender named Razor Fist, and threatened within an inch of his life as the other inmates escape. Robbie, by being violently assaulted previously, has discovered that pain is the mechanism by which his powers are activated. This also feeds into his dark, introspective decline as his pessimism is fully embraced. Robbie seeks to receive pain, in order to violently retaliate against those that would do harm. Razor Fist doesn't realize what he's done when he threatens Robbie: "'Shut your mouth, Baldwin! You're nothing! You're human meat--cannon fodder! Just you remember that.' 'You're hurting me.' 'You think I care? 'No...I like it'" (Jenkins, FL 373-374). After this exchange, Robbie embraces his pain, leveling the room of guards and inmates, knocking them unconscious in his wrath. Robbie has no remorse or sympathy for those he's hurt, as he has become fully versed in his self-inflicted retribution. Robbie no longer is the man he was before, as his actions are sociopathic at best.
Robbie welcomes his new-found pain, and becomes the supervillain Penance. His tailor reflects on the materials used to construct the 'iron-maiden-like" torture suit he wears to cope with his actions: "The plates are constructed of super-hardened plastics, reinforced with certain alloys, making it the hardest substance that can possibly be manufactured. The insides of the suit are exactly as specified---the lesser spikes protrude just over half an inch: painful, but hardly incapacitating. The larger spikes no doubt will break the skin of the wearer" (Jenkins, FL, 412). Seeing as Robbie wishes to suffer for his crimes, he requests a suit that will constantly remind him of the pain and misery he's inflicted upon the world at large. This borders on the extreme, as Robbie seeks to suffer eternally for what he's done wrong. He can no longer see the brightness or positive aspects of life, and seeks to suffer to understand his new reality. Robbie's pessimism truly defines him as he explores the different pain points in his suit and the lives they represent:
"I know how to pay for all the pain I've caused. Six hundred and twelve people died at Stamford. So every day I'll carry with me six hundred and twelve points of pain. Sixty of those people were innocent children who burned to death in a schoolyard. Their blood is on my hands. I'll feel their pain every time I throw a punch. Every single point of my pain will be a reminder until the day I mercifully die. And all of that pain is fuel. Robbie Baldwin is dead. Now it's time for Penance'" (Jenkins, FL, 415-417). http://upload.wikimedia.org/wikipedia/en/a/a5/Cwfrontline10.PNG
Though Robbie's journey is initially one of redemption as he attempts to clear his name, his life quickly spirals out of control as he witnesses the horrors of prison life, while he is verbally and physically assaulted frequently over his journey. After his breakout, Robbie becomes a conduit for pain and anguish, utilizing his misery in order to inflict more pain on the world. Robbie's outlook is a very bleak one, and in his "iron-maiden-like" suit, he manages to atone for his wrongdoing by suffering on a daily basis. Robbie's bright, cheery attitude quickly deteriorates into one of stark pessimism, as he will continually suffer as long as he lives, until the day he dies for the pain he's caused. Robbie's journey transforms him from a lighthearted and optimistic young man, convinced of his innocence and eventual release, into a tortured and pessimistic villain that continually suffers for his crime. Robbie Baldwin's suffering and transformation into Penance is a horrific exploration of how pessimism can completely change an individual. Penance is analogous of pessimism, continuously suffering on his tortured journey of redemption.
http://i.annihil.us/u/prod/marvel//universe3zx/images/4/40/Penance01.jpg
Monday, September 19, 2011
The Dualism of The Sentry
You are the world's greatest hero, and you are a beacon of strength and determination that many other heroes and everyday people flock to. You are the Sentry. Your archenemy is aptly named "The Void," but the crux of your adversarial relationship rests within your being. This is The Sentry at his simplest-a man that tries to prove himself time and again as a paragon of heroics, while his dark half, The Void, seeks to destroy all that the "good" half accomplishes. Robert Reynolds/The Sentry is a perfect example of dualism: " the idea is that, for some particular domain, there are two fundamental kinds or categories of things or principles. In theology, for example a ‘dualist’ is someone who believes that Good and Evil — or God and the Devil — are independent and more or less equal forces in the world." http://plato.stanford.edu/entries/dualism/ The Sentry's dual personalities define his character, and it is no coincidence that this character is at odds with his identity as he is literally composed of two different beings sharing one body and mind.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
The Sentry: http://images4.wikia.nocookie.net/__cb20051104052057/marveldatabase/images/1/12/SENTRY001_cova.jpg
The Void: http://images.wikia.com/marveldatabase/images/d/d1/Void.gif
As explored above, The Sentry is a man that is at odds with his personalities, each of which are equally constructive and destructive. Though The Sentry's idealism and good intentions oftentimes have a profound effect on his surroundings and communities, eventually his dark half, The Void, arrives to undo what has been accomplished. This is most evident when Robert is discussing his psychology to Norman Osborn, his mentor and confidant: "The Void is in me. He's watching me. He's watching us now. And---and anything I do, anything I do...he does something to balance it. If I save a plane from crashing, he sinks a boat. I save the world. He endangers it" (Bendis, Dark Avengers, 58). The Sentry is constantly at odds with himself, seeking to keep his dark side at bay. No matter how much good Bob does, his shadow creates more havoc as a result. This falls in line with the definition directly as: "good and evil are independent and more or less equal forces in the world". The Sentry is truly a dualistic character. Osborn reflects on this strongly too as he mentions to Robert:
"Would you like to be an Avenger? The hero you are? Today? Now? Now? No. Now we're going to shower and shave and eat and sleep. Not because you have to, because you want to. Because they make you feel good and human. They make you feel like "Bob" and if you feel like Bob, you are Bob. And when you deny yourself your humanity, you create something else. You create a... Void. Exactly. Oh my God. You're right. You're...You're right" (Bendis, DA, 61-62).
The ability for Bob to hold two distinct personalities within the same body and mind takes its toll on his human identity, to the point where he no longer eats or sleeps regularly due to the constant reminder of his duality. The ability for Osborn to pinpoint this key aspect of Robert's personality later proves to be his undoing.
The notion of Robert's dualism is further explored later in the volume as he comes to terms with his mental illness and the possibility that The Sentry can defeat his darker, evil side. The internal struggle comes to a head when Robert's wife, Lindy, realizes that her husband has become far too powerful and is a very real threat. The Void takes complete control of The Sentry and explains his disdain for Robert's "pathetic" wife, the character's dualism is on full display:
"He told you his deepest, darkest secrets. You see me as the enemy. You're the enemy! You're the betrayer. You made a promise, Lindy, you're a liar. Please just let me go. Just kill me. Only because you were polite enough to beg me. No! You promised! We had a deal! Not her! You don't touch her. That was then. She asked me to. She flat out begged... No! You don't touch her. I think we can all agree at this point that your life will be much easier without her. NO! She's only made it more complicated. NO!! SHE DOESN'T LOVE YOU ANYMORE!!!! YOU DON'T TOUCH HER" (Bendis, DA 281-282)!!! The character is literally at odds with himself, the violent and murderous aspects of The Void manifest themselves in dark, shadowy protrusions on Robert's body, while the heroic and forthright aspects of the character manifest in his blue eyes and light blond hair. Even in the art depicting this character, the dualism is fully on display. Both The Sentry and The Void are equal parts constructive, superheroic behavior, and murderous, nihilistic intent.
Finally, the internal struggle begins to buckle as The Sentry gives way to The Void, when Osborn loses his leash on Robert. Osborn's hubris proves to be his undoing, and this is the final straw to break Robert's hold on The Void. This is terrifyingly expressed by Osborn as he's fallen in battle: "You're dead. You're all dead. He's going kill you all. I was the only one who could stop him. I was the only one who knew what he really was. How---How powerful he was. I was saving you all from him. I was saving you" (Bendis, Siege, 115). The fully realized power of The Void manifests itself into an otherworldly demon, capable of keeping all the heroes at bay. The human, kind and heroic aspect of Robert Reynolds becomes the nihilistic, violent and determined Void as soon as Robert loses control. The dualistic struggle between these two halves define who and what The Sentry is, and as soon as the heroic and virtuous nature of Robert's human side disappears, the violent Void takes control, nearly killing all in his wake.
The Sentry is equal parts psychological study as he is compelling comic book character, but the most intriguing part of his personality comes down to his dualism. The appeal of The Sentry is this characteristic, as over the course of this character's life and death in the short span of 7 (real life years) in comics, we as readers being to see what makes Robert tick, and the consequences of losing your internal struggle for control over your being. Truly equal parts good and evil, God and Devil, Hero and Villain, The Sentry/The Void embodies the nature of dualism in a creative, tragic and thoroughly entertaining manner. The Sentry and The Void are a perfect, contemporary example of Dualism in the comic book form.
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