Monthly Archives: December 2013

MERRY CHRISTMAS!!!

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Love is love’s reward. – John Dryden

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“Avengers – Snowball Fight!”

Marvel's Avengers Assemble!

Hi, Everybody!

Today’s post contains one very inane question, which will hopefully make it fun simply because it is so inane. Which Avenger do you think would win if they all had a Christmas Day snowball fight? There’s a poll at the bottom of the post (I hope) where you can vote for the Avenger you think would win if the team engaged in an all-out snowball battle.

Personally, my money is on the Hulk. He could make a snowball big enough to bury half of the Avengers, and he’s strong enough to lob it at whoever he chooses. His target Avenger would be lucky if he/she wasn’t pancaked.

If I had to choose second and third place winners (if anyone would be able to stand up after the Hulk had finished with them) I would choose Cap and Hawkeye for second place. Iron Man would, I think, nab third base. I give the second place slot to Cap and Hawkeye because they’re both amazing shots; as for handing Iron Man third place, he would find some way to use his armor to his advantage. He may not come out on top, but he’ll come out on his own two feet if he can.

As you know, this is my first attempt at a poll. So if there are any glitches with it, odds are they’re on me. Fingers crossed that there aren’t any snags, but better safe than sorry. So have fun everybody, and beware of high speed snowballs coming your way! Merry Christmas!

The Mithril Guardian

 

Stars and Dreams

Hi, Giselle!

Today I thought I would write to you about songs performed by a favorite musician/singer of mine.  Her name is Enya Brennan (Eithne Ni Bhraonain in Irish Gaelic); she writes and performs New Age music.  She sings all her songs and performs the music, too.

One of the interesting things about her songs is that not all of them are in English.  Most of them are, but some are entirely written and performed in Latin or Irish Gaelic.  Several others mix Latin or Gaelic with English; at least one may have a few French lyrics in it.   As far as I know, Enya has only performed one song in Spanish, “La Sonadora,” but it is not listed on her website.

Oh, yes, she has a website.   If you go to www.enya.com and click on the section titled “Videos” at the top, you can see some of the videos she has filmed to go with her songs.  Or you could click on the links here in my list of favorites:

                                “Only If” http://www.enya.com/videos.php?vid=j

“Book of Days” http://www.enya.com/videos.php?vid=c

                            “Anywhere Is” http://www.enya.com/videos.php?vid=b

“Storms in Africa” http://www.enya.com/videos.php?vid=n

“Caribbean Blue” http://www.enya.com/videos.php?vid=d

“Wild Child” http://www.enya.com/videos.php?vid=p

“Orinoco Flow” http://www.enya.com/videos.php?vid=m

“On My Way Home” http://www.enya.com/videos.php?vid=l

“Trains and Winter Rains” http://www.enya.com/videos.php?vid=tawr

“Only Time” http://www.enya.com/videos.php?vid=k

My absolute favorite music video is “May It Be” (http://www.enya.com/videos.php?vid=i).  It was written and performed specifically for the movie The Lord of the Rings: The Fellowship of the Ring.  Enya wrote and performed a second song for that particular movie as well; it was called Aniron and was an expression of Arwen Evenstar and Aragorn’s love for each other.  Aniron is written and performed in the fictional Elven language Sindarin, but the song was never released with the film.  “May It Be,” however, plays almost as soon as the credits roll at the end of The Fellowship.  It is primarily sung in English but has a few lines in the fictional High-Elven – or Elven ‘Latin’ – tongue, Quenya.

The video for this song includes footage from The Fellowship, which is the main reason that I enjoy it so much.  I am a BIG fan of The Lord of the Rings and Tolkien’s other work, The Hobbit.  If you have looked at my quote pages, you have probably figured that out.

Why do I enjoy the other songs?  Well, to start in completely the wrong order from my list above, I heard “Storms in Africa” and “Orinoco Flow” long before I even knew that Enya had her own website.  So these two songs are part of my youth.  The two are contained in the same album, Watermark, the recording that seems to have launched Enya to international stardom in the 1990s.  This is the album where I first heard them.

The refrain for “Storms in Africa” is “How far to go…./I cannot say…/How many more…/Will journey this way?”  The song is wistful; if you listen to Enya’s songs when you are exhausted, they will put you out like a light.  “Storms in Africa” features Enya’s extensive vocal range in the middle of the song; a haunting melody that seems to beckon the listener into another, twilit world.

I must confess that the title also makes me think of the X-Man Storm, a favorite character of mine for many years.  So this is another reason I enjoy “Storms in Africa.”

In contrast to “Storms,” “Orinoco Flow” is far more bouncy and lively.  It reminds me, now that I think of it, of a sailor’s shanty.  The refrain “Sail away, sail away, sail away…” adds to this new idea.  “Orinoco Flow” is much softer – of course – than an actual sea shanty would be, but the tune carries the same rhythm of a ship tossed on the vivacious waves of the open ocean.  This may be why the video occasionally shows a wooden sailing ship under sail behind Enya during the video’s run.

Personally, this is one of the few videos of Enya’s songs that I dislike.  I do not like the sharp, choppy switches between pictures in the film.  The song, however, is well worth hearing and I listen to it when I can.

“Only If” and “Caribbean Blue” are favorites of mine because of the childhood settings in the videos.  In the video for “Only If,” Enya appears to help a frustrated inventor who cannot get his paper airplane to fly, a man trying to fly via a large handful of pink balloons, and a girl who cannot get her kite in the air.

This video portrays Enya as a muse, I think: the inspiration these three people need to keep working on their dreams until they achieve them.  As the refrain goes, “If you really want to you can hear me say/ only if you want to will you find a way./ If you really want to you can seize the day,/ only if you want to will you fly away…”

Only If – see?  They can Only achieve their desires If they work at it!

Similarly, “Caribbean Blue” shows Enya depicting what I believe to be a fairy.  This is not the kind of fairy most people are familiar with – the one the size of Tinkerbell that flies in to collect a child’s newly lost tooth and, with the wave of a magic wand, change said tooth into a quarter.  Rather, I think she plays here one of the Sidhe [shee], Irish fairies descended from the Irish Celtic deities, the Tuatha Dé Danann.  These were human sized “fairies” of Irish folklore and myth, and they are believed by some scholars to have been the inspiration for Tolkien’s Middle-earth Elves.

In this video, Enya sings her song while guiding a young boy through a book.  First they walk through the ‘jungles of adventure,’ then the boy enters dreamland (represented by a huge chocolate factory!).  Finally, Enya meets the boy on a moonlit beach and gives him the book she has led him through.

The little boy’s wonderstruck expression as he travels through the video perfectly sums up Caribbean Blue’s twilight setting.  Is it real or is it a dream?  That is for the little boy to decide for himself.

“Anywhere Is,” “Wild Child,” “On My Way Home,” and “Trains and Winter Rains” are more favorites of mine because they all present soft fantasies and dreamscapes that blur the possible with the impossible.  Fact or fiction, myth or legend, this life or the next – all these things are muddled in both the song videos and the song lyrics.  For instance, “Anywhere Is” speaks of “a moment” between two people that has been lost in time; no matter how Enya’s ‘character’ searches, this moment is lost to her.  She gets there only to miss the one she loves: “You go there you’re gone forever/ I go there I’ll lose my way/ We stay here we’re not together/ Anywhere is…”

The video for “Wild Child” is set in a cityscape that constantly shifts to natural settings, leaving the viewer to wonder whether Enya’s ‘character’ is in a jungle or a city.  Any country boy could tell you there is little enough difference between both cities and the wilder parts of the world.  All teem with life and throb with their own hurried heartbeat, represented in the video by the white cat that prances past Enya as she sings.

“On My Way Home” shows Enya riding a train, heading for – where?  Home, she calls it in the lyrics.  But which home?  “On my way home, I can remember, only good days/ And on my way home, I can remember every new day…”  Is it the home in this world, the home in the next, or a home known only to the ‘character’ who sings…?  I don’t know.  Maybe even Enya’s ‘character’ does not know.

“Trains and Winter Rains” is a part of Enya’s Christmas album And Winter Came.  “Trains,” according to Enya, is a song about “a dark winter journey…where it’s time to leave home.”  (You can find her description of it in the And Winter Came EPK video; second from the bottom of the list of Enya’s videos.  This video is an interview.)  One of the things that struck me about “Trains” more than the lyrics, which do seem to speak of the last journey everyone must take, is the rhythm of the music.  It is a soft piece of music reminiscent of the rhythm of the click-clack of a train’s wheels rushing down the tracks.  For some reason it always brings to my mind scenes from the animated movie The Polar Express.  That may be because Polar Express was also about journeys and their endings/beginnings.

Now for my last two favorite songs.  “Only Time” is a music video that is spellbinding.  I think that perhaps in this film Enya ‘represents’ Time as she sings.  The video follows spring showers to summer beaches, and then goes on to show autumn leaves falling.  Throughout the film Enya’s dresses bear some likeness to the seasons she passes through, culminating in a white dress during the final transition from autumn to winter.  “Who can say/ if your love grows/ as your heart chose/ – only time/ and who can say/ where the road goes/ where the day flows/ – only time.”  Only Time – too true; only time will tell.

My final favorite song is “Book of Days.”  This song is one that I listen to more than I watch.  The lyrics are, to me, the most inspiring part of the song: “No day, no night, no moment/ will hold me back from trying/ I’ll fly, I’ll fall, I’ll falter,/ I’ll find my day – maybe far and away/ far and away…”

This song makes me think about the journey ahead, the journey into forever, eternity.  “I’ll fly, I’ll fall, I’ll falter.”  Yes, all of that.  That is the journey of life.  And at the end “my day – maybe – far and away…”

Book of Days…..  Every life is a book, the years lived and the years ahead.  Yes…Book of Days.

Oooh, am I stiff!  I’ve been typing to long.  And I have probably made little sense while writing this note to boot.  Well, I hope you enjoy the music, Giselle.  I know I do!

Later,

Mithril

A Fleet of Quotes

All at Sea

The bravest thing that men do is love women. – Mort Sahl, American comedian

Into each life some rain must fall. – Henry Wadsworth Longfellow, American poet

A man cannot be too careful in the choice of his enemies.  – Oscar Wilde, Irish poet and playwright

Love all, trust a few, do wrong to none. – William Shakespeare

The roots of education are bitter, but the fruit is sweet. – Aristotle

Only the wisest and stupidest of men never change. – Confucius

I’ve seen a heap of trouble in my life, and most of it never came to pass. – Mark Twain

The search for happiness is one of the chief sources of unhappiness. – Eric Hoffer, American philosopher

When there is only one possibility, it can’t be wrong. – C. Daly King

As time passes we all get better at blazing a trail through the thicket of advice. – Margot Bennett

The Avengers: Hawk’s Strike

Hawkeye

Hi, DiNozzo!

Yes. I am going back to The Avengers. What about it? I’m a Marvel fan. I have been one for years. I don’t think I’m going to stop just yet.

But I’m no seer. I’m just a consumer. If Marvel’s stories really tank, then they will definitely lose my business.

I digress. Do you know what one of my favorite scenes in the film is? It’s at the very beginning of the movie, when Fury asks Hawkeye whether or not the archer has noticed any suspicious activity around the Cube before it began “behaving.”

Hawkeye essentially says no and adds, “If there was any tampering, sir, it wasn’t at this end.”

Fury looks at him, his expression saying, ‘You’re not supposed to know that.’ Out loud he asks, “At this end?”

Hawkeye glances at Fury, realizes the boss is upset with him, but plunges on all the same. “Yeah. The Cube is supposed to be a door through space, right? Well, doors open from both sides.” As he is saying this, Hawkeye continues to shoot glances at Fury that seem to say innocently, ‘What? I’m not stupid; I have ears as well as eyes. I was paying attention.’

And that is exactly the point of this scene. Hawkeye was paying attention when no one thought he would be. In the ‘mainstream’ Marvel comics and cartoon shows, Hawkeye is better known for his smart mouth than for actually being smart. This behavior has been the tipping point in his favor during a battle many times. His opponents often assume, to their detriment, that because Hawkeye is running his mouth off he is not paying attention.

As we see here, this is not the case at all. Hawkeye is smart enough to realize that if the Cube really is the inter-dimensional doorway Selvig and the other scientists keep saying it is, and if he saw no one tweak it from this end, then the problem is not at this end. The problem is on the other side of the ‘door’ the Cube forms.

Of course, this does not solve the problem. If anything it makes the situation worse, as everyone at the base discovers when Loki arrives, almost as Hawkeye himself predicted.

There is soon more proof of Hawkeye’s being “smarter than your average bear” in the scene where he warns Loki that the portal is going to collapse and bury the facility.

Eh..? What, you think that was Loki watching the portal getting ready to explode through Hawkeye’s eyes (pardon the pun)?

I doubt it. While Hawkeye appears to be little more than a robot under Loki’s control, this does not necessarily make him a pure extension of Loki’s will. That would require Loki having somehow developed telepathy after leaving Asgard, and we know this was not the case. Loki controlled Hawkeye, Selvig, and others via his “glow stick of destiny.” Whatever Tesseract energy that shaft had in it, the mind control did not work along the same lines that telepathic mind control would.

Come on, DiNozzo! I have been a Marvel fan for years; you don’t think I would not know proper telepathic mind control when I saw it, do you? Telepathic mind control would have been far more invasive, personal, and much harder to shake. Loki would not have needed the scepter to make people “his personal flying monkeys” if he were telepathic. He would not have needed to even touch the person he wanted to control. Telepathy, according to the Marvel Universe, very rarely requires any kind of physical contact to be effective. Yet Loki had to tap everybody with his magic spear to get them under his spell.

In a nutshell, this means that Loki was not simultaneously watching the portal through Hawkeye’s eyes while giving Fury his “glad tidings”; he was not using Hawkeye as a viewer screen/computer monitor. He was using the archer as a programmed automaton.

You really should watch more sci-fi, DiNozzo. Stargate: Atlantis would give you a pretty good idea of what I mean about telepathy being more invasive (and thus harder to fight off – or, occasionally, accomplish) and it would do so from the second episode on in. I do not know precisely how one might explain the manner in which Loki controlled Hawkeye, but it certainly was not through telepathy. Argh, now look at what you’ve made me do! I’m jumping down rabbit holes trying to explain things to you that you should be able to figure out yourself! ARRRGH!

My point is, in this scene, even while under Loki’s ‘spell’ Hawkeye recognized that the portal was destabilizing and getting ready to collapse. Watching it, I could tell it was doing something abnormal and important, but Fury and Loki’s exchange was distracting. I was not sure what it was doing – although I had a pretty good idea it was about ready to blow up. But Hawkeye knew it was going to blow up. Not something many people who know his history might expect from him in such a situation.

DiNozzo, Hawkeye barely made it out of high school in the original comics! The only thing he got a ‘master’s’ degree in was shooting; he’s known in the comics as a grandmaster marksman. (Thanks for the new rabbit hole, by the way!!!)

Anyway, after Hawkeye, and then Selvig, warns Loki that the portal is going to collapse and bury them “like the Pharaohs of old,” Loki has Hawkeye shoot Fury to get him out of his hair. In my post ‘The Best Villain of 2012,’ I pointed out that this proves Loki’s direct contempt for humanity and the men he ‘commands’ given that he never attempted to learn whether or not Fury was wearing some sort of protection.

Thinking about it now, though, I wonder if Hawkeye did not shoot Fury in the chest on purpose. While Loki certainly would not know Fury was wearing body armor, Hawkeye should have at least been able to guess he was. If he was the compliant machine Loki believed him to be, why did he not just put a round through Fury’s head and have done with it? Loki wanted Fury completely out of the way….

And yet Hawkeye shot Fury in the chest, leaving him to direct the counterattack against Loki. What ‘robot’ would do that?

Yes, Tony, it is possible that Loki had him aim at Fury’s chest and that it was not a form of resistance on Hawkeye’s part. But that brings me to the next strange thing Hawkeye does before escaping the facility under Loki’s control.

This strange event begins in the next scene, where Hawkeye, Selvig, another SHIELD agent, and Loki take a SHIELD vehicle as a getaway car. Maria Hill is present when they come in and – of course – asks who Loki is. Hawkeye deflects her question, but the game is up when Fury radios Hill and tells her Hawkeye has been compromised.

Overhearing this, Hawkeye turns and fires at Hill, lightning fast. He misses her, and she gets to cover. The two exchange more shots, Hawkeye again missing Hill each time. A car chase then ensues, where Hill and Hawkeye continue to shoot at each other. Again, Hawkeye misses Hill. The closest he came to hitting her in the chase was when he put a bullet through the windshield, less than a foot from where Hill was sitting behind the wheel. He then breaks his vehicle free of Hill’s and hits the gas, escaping the collapsing base while her vehicle is pinned beneath the rubble.

Why do I keep emphasizing the fact that he missed? Because, DiNozzo, as Hawkeye himself is fond of reminding anyone within earshot (both in the comics and on television) he never misses. Not once, except for the story arc Blindspot in the comics a few years back, has Hawkeye everEVER – missed his target in a battle. NOT. ONCE.

With this fact in mind, we are then left to wonder: why did Hawkeye continually miss shooting Agent Maria Hill?

The crass answer is that it was in the script; if Hawkeye had killed Hill, then she would have had no part in the rest of the film (oh, boo hoo). I would stipulate, however, that since Hawkeye does not miss any of his opponents when he is fighting the Chitauri with the rest of the Avengers and is known in the comics to never miss, it would seem he intentionally avoided killing Hill.

And if he deliberately sidestepped shooting her, then can his shooting Fury in the chest be truly attributed to Loki’s ignorance of modern body armor? The more I think about it, the less likely that theory appears. It appears much more likely that Hawkeye did not kill his superiors on purpose. The man puts too much pride in his precise shooting to change his firing style so abruptly, shooting at everything in front of him in the hopes of striking his target, like any hired thug. Hawkeye could hit a target dead center in his sleep – he would not need to use up half of his pistol’s magazine trying to take out Maria Hill.

There is another point I think may be made about Hawkeye’s skills as well. When Hawkeye is leaving the Helicarrier to rejoin the newly freed Loki, Widow catches up to him and the two “master assassins” begin a lethal dance of survival. The first thing Widow does is disarm Hawkeye of his bow. Upon losing his primary weapon, Hawkeye draws a knife and prepares to get into even closer combat with his partner.

Now, one of the things Hawkeye is known for in the comics is his stunning accuracy, not only with his bow, but with pistols, rifles, knives, shuriken (throwing stars), and practically anything else he can lay his hands on. He can even turn baseballs, tin plates, coins, sticks, and any bits of junk lying around nearby into effective weapons, often using a rebound/interaction effect to accomplish this. In the comics, he is one of the few people in the Marvel Universe capable of handling Cap’s shield the same way Steve Rogers does; ricocheting the shield off of stationary objects or indestructible super villains and having it return to him. Few other Marvel characters have the skill to toss Cap’s shield the way that Cap does, even the majority of those whom the First Avenger has personally trained to fight, one of whom was Hawkeye.

In light of this fact about Hawkeye’s ability to hit a target with whatever he can grab, why didn’t he simply throw the knife at Widow and kill her?

Again, there is the crass answer: it was in the script. The writer (Joss Whedon) wanted Hawkeye and Widow to get into a typical Hollywood assassin duel. I will admit that this is possible, but I think it is somewhat unlikely. Whedon kept a lot of details in the film that came from the comics, new and old. I do not see any plausible reason for him to throw this killer ‘dance routine’ into the film simply to add excitement. Everything in the film relates to something else that has gone before in the comics; I doubt Whedon would simply slip this battle into the film for the less-than-substantial “let’s have an assassin duel” adrenaline-pumping time-filler other directors appear to favor.

A second answer would be a pragmatic one: if Widow somehow dodged the thrown blade, Hawkeye would have had to resort to unarmed combat, a field in which Widow is extremely proficient (she shows this to the audience when she finally frees Hawkeye of Loki’s control by slamming his head into a steel railing). This is a perfectly reasonable answer to why Hawkeye did not throw the knife.

A third answer, I think, is that Hawkeye did not want to hurt Widow and so forced her into hand-to-hand combat, knowing – or hoping – he would lose such a battle. This fits in with the theory I mentioned above, the one concerning Hawkeye’s reluctance to kill his SHIELD commanders. Here he did not want to kill his SHIELD partner, Widow, so he forced her to fight the way she fights best – in close quarters.

Huh..? What does this tell us about Hawkeye as a character? It tells us a great deal, DiNozzo, mainly that he was not under such strict control as Loki believed. For more about Hawkeye’s personality, you would have to remember what Widow says about him in her interview with Loki, and later on Hawkeye’s actions when he joins the Avengers in fighting the Chitauri.

During her discussion with Loki, Widow says that Hawkeye decided not to kill her, as he had been ordered to do, before she worked for SHIELD. Were he “no more virtuous” than Widow describes herself as being at that time, he simply would have killed her out of hand. But something made him pause and reconsider his orders.

As I said in ‘Widow’s Sting,’ we do not know what made him decide to break with his orders. And it does not appear likely that anyone in Hollywood will be interested enough in the character to fill us in. While Whedon says he has written Hawkeye into the sequel to The Avengers, it is impossible to tell whether the archer will get any more time in the limelight or any more character development in the upcoming film than he received in the first movie.

I reiterate from ‘Widow’s Sting,’ however, that Whedon may surprise me. I also reiterate that I would greatly enjoy helping to give both Hawkeye and Black Widow their dues in the theater, as I enjoy both characters. But, as I also said then, no one asked me.

However, this is beside the point. Hawkeye’s decision to spare Widow, and even to recruit her into SHIELD, points out two things about his character. First, he has a keen sense of right and wrong, a sense which far outweighs his loyalty to SHIELD. Were it the other way around, he simply would have killed Widow and asked any questions he had later.

Secondly, his recruitment of Widow demonstrates, as I said, where his loyalty to SHIELD stands. Despite working hard for the agency, Hawkeye has no automatic devotion to SHIELD, something Maria Hill appears to have in spades. Personally, I would hypothesize that going against his orders meant Hawkeye risked more than simply getting expelled from SHIELD. If Fury or Hawkeye’s other superiors suspected that the archer had been “emotionally compromised” and become romantically involved with Black Widow when he suggested recruiting her, they might then have jumped to the conclusion that he had chosen to become a double agent. In that case, Hawkeye could have been ‘burned’ by SHIELD, at which time he would have been put on their hit list. This, as far as we know, did not happen. Which makes me think that, in the end, Hawkeye was almost as lucky as Widow.

Bringing about Widow’s defection is the first act of Hawkeye’s we know of which reveals his unwavering moral compass, or nobility of character, if you will. But this is reinforced in the movie on three occasions later on.

The first time Hawkeye’s morality is fully highlighted is by the horrified remorse he shows when he finally shakes free of Loki’s mind control aboard the Helicarrier. For a while after coming around, Hawkeye looks to be fighting serious nausea over the idea that he has probably killed people on his own side, some of whom were likely his fellow agents.

He seems to conquer that sickness only when he realizes Widow is strangely interested in “wading into a war.” Although still scarred by his recent actions, Hawkeye’s concern for Widow outweighs his personal pain as he recognizes that Loki has somehow wounded her emotionally. So Hawkeye pushes aside his problems and tries to help her as she has helped him, by gently coaxing his best friend into telling him what is bothering her.

Finally, in the battle with the Chitauri, Hawkeye is shown helping civilians trapped in a bus to get out of the line of fire, before he joins Widow in shooting down the invading aliens. While this is not a spectacular action on his part, rescuing the people trapped in the bus emphasizes Hawkeye’s sense of right and demonstrates where his priorities lie. This is the instance where Hawkeye proves he really is “more virtuous” than Black Widow; his main concern is saving lives. The audience learns in this scene that taking lives is the last recourse for him. With Widow, it was originally her first act.

Widow knows this, and this is why she fights so hard to get Hawkeye back. He is what she was not, what she can never be. She owes him a huge, monumental debt. There is no way to repay that debt; it is humanly impossible – something I never got around to stating in my post ‘Widow’s Sting,’ unfortunately.

So Widow does the next best thing. She stays by Hawkeye’s side to make sure he never becomes like her. This is why she fights beside him. This is why she is in his medical bay, waiting for him to wake up. She knows what it is like to be used but she also knows that, for her best friend, this may just be what pushes him over the edge into the dark abyss he helped her escape. We’ve just spent several ones and zeroes going over why Hawkeye behaves the way he does; he has a moral center which he will not step outside of.

And in The Avengers, Loki tried to force him out of it.

It takes a minute, but Widow does help Hawkeye regain his moral balance. And, like her, Hawkeye decides he wants back at Loki. Not because he has been awake for three days and nights without a shave or a moment’s rest, but because Loki has used him to do what Hawkeye would never consent to doing if asked, threatened, or pressured. Loki has made Hawkeye behave like a soulless monster, albeit briefly.

Hawkeye is no monster, and he is not soulless. Anyone who makes him into such a creature, even momentarily, is going to pay. Big time.

These are my opinions on the Hawkeye of Marvel’s The Avengers. You can take them or leave them, Tony, as you wish.

What’s that? Am I looking forward to seeing Hawkeye in the second Avengers movie? Well, yeah. Duh. I am looking forward to seeing all of the Avengers again. My hopes just are not very high for Hawkeye’s part in the next movie being very relevant – and don’t get me started on my worries about Whedon having Quicksilver and the Scarlet Witch in the film. Or that the villain in the next movie is going to be the crazy, evil android Ultron (I am rather fed up with that guy). These three characters worry me somewhat about the sequel. See my posts ‘The Art of Probability Manipulation’ and ‘Age of Despair’ to learn why.

I do, however, have my fingers crossed that the sequel will be great. I really hope Whedon manages to surprise me with Avengers: Age of Ultron, the way he surprised me with Marvel’s The Avengers.

I could do with a nice surprise. So could the Avengers. But we will have to wait and see what happens. Bummer. I despise waiting.

Whoops, I have to get while the getting is good. See you around, Tony!

Later,

Mithril