Tag Archives: “mainstream” Marvel Universe

Spotlight: X-Men – Storm/Ororo Munroe

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You may or may not remember the introduction I wrote for the Spotlight! post on Rogue, readers. I happened to find some articles about the “Strong Female Character” model Hollywood and the usual suspects have been trying to force on us lately. I have already written two posts of my own on this subject, both with the title “Strong Women,” but these other articles got me thinking harder about the subject. How can Marvel’s heroines, most of whom have superpowers, be strong women without being “SFC”s?

Well, in the case of Storm/Ororo Munroe, that question is not hard to answer. But it is a little time consuming, as I am going to give you a history of the character to deepen your understanding of her. A lot goes into making a competent heroine, while not much goes into the making of a stereotypical SFC, and the difference should be illustrated.

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One of the reasons I was disappointed by the X-Men films was Storm’s appearance. Storm had always been one of my favorite X-Men. In fact, when reading the Animorphs series, I was upset when one of the characters was compared to Storm. This character was Rachel, a blonde, blue-eyed beauty with the heart of an Amazon. I was not happy with another character choosing to compare her to Storm; the only thing Rachel and Storm had in common were their blue eyes, readers. After that, they were as different as apples and oranges.

So I thought having Storm in the films would be great. But when I saw Halle Berry playing the character, I was let down by the fact that a) she did not look like the Storm I knew, and b) she seemed to be completely watered down as a character.

If you are scratching your head and wondering why I would think this, allow me to explain. Storm is actually an African-American character, something that is never mentioned in the movies. Her mother was a Kenyan princess but her father was an American photojournalist. This is presumably where Storm gets her blue eyes; I cannot say for sure, but I think her father may have been white. I know he was American, and this is what makes her African-American.

Anyway, the couple married and moved to Cairo, Egypt, after Storm was born in New York City, New York. When Ororo was four years old, her parents’ apartment complex was accidentally bombed by a fighter jet flying overhead. Both of Ororo’s parents were killed and she herself was buried in the rubble for days. The extended confinement at this tender age left her with severe claustrophobia; even as an adult who has fought hundreds of battles against the nastiest people you can imagine, Ororo is terrified of small spaces. It is her biggest weakness, but luckily it is not always exploited by her enemies.

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After she was orphaned, Storm lived on the streets of Cairo for the next few years of her life. She made a meager living by picking pockets and stealing during this time. (That was not a very heroic start to life, huh, readers?) Finally, about the age of twelve or thirteen, Ororo did decide she had had enough of this life and left Cairo on foot.

On her way further into Africa, Storm met her future ex-husband T’Challa, who would someday become King of Wakanda and an Avenger. They did not stay together long, as Storm still did not feel at home in the area where they met. So she kept walking until she found a place that felt right to her (this place was, presumably, Kenya, her mother’s homeland). Here her mutant powers manifested and the locals worshipped her as a deity. In the X-Men: Evolution series, they gave her the name “Wind Rider.”

This village is where the Professor found and recruited Ororo into the X-Men. Partly because she had been playing goddess, partly due to her royal heritage, Storm became one of the most unflappable members of the team.

But there is more than mere instinct and training involved in Storm’s calm demeanor. You see, remaining calm is the best way for her to control her powers. Unlike Thor Odinson, Ororo cannot make a storm or even raise a wind out of thin air. This is Thor’s ability because his hammer does not need existing weather patterns to drum up wicked weather – it can create new weather patterns as instantly as Thor can think of them.

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Storm has to use existing weather patterns to create the weather she needs/wants. She has to draw moisture into one area from another or pull wind from one area to her.

In confined spaces, such as the X-Men’s Danger Room or another building, this is no real biggie as far as I know. Ororo can get the needed air and moisture from the building and nature will not become unbalanced because the internal temperature and moisture of a building is kept at a regular level by the heating/cooling systems.

This is not the case outside of this restricted environment. When she is flying above a city or a continent, if Ororo pulls too much hot air from one region and too much moisture from another, she can upset the balance of the weather in that area for a long time. She may even upset it forever, if she overdoes it.

So while Storm’s powers are fantastic and amazing, she has to be careful when she uses them. Her powers are tightly tied to her emotional state; if Ororo gets angry or becomes frightened, the weather will turn wild and ugly in response. This is the other reason for her quiet, tranquil attitude; Storm cannot lose control of herself in the smallest degree, because the effects will be far larger than a normal temper tantrum or a righteous scolding would allow. She could flood entire cities if she lost her restraint and this is why she rarely lets her temper out of the bag.

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However, this does not mean that Ororo does not have a temper. It just means that you have to work hard to get her to show it. Mystique pulled that off at the beginning of Evolution’s third season; she had kidnapped the Professor and pretended to be him for the last few episodes of season two.

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But her deception was only revealed at the end of season two, to be picked up at the beginning of season three. This was after the X-Men’s first public battle, where some of their members were captured by the government. After Nick Fury gave the X-Men information on their captured teammates, Storm began to plan the rescue operation…

…Only for Mystique to forcibly take command of the rescue mission away from her and put herself in charge. She did this, she claimed, because the Blob had been taken into custody along with the captured X-Men.

Already upset by the previous day’s chain of events, Mystique taking command of her team really got Ororo angry. Without thinking, she drummed up an instantaneous thunderstorm that might have had dire consequences for the town nearby. It took Jean Grey’s quick reminder about Mystique’s threat to the Professor’s life to make Ororo put the genie back in the bottle. The fact that she was able to “turn her powers off” so quickly is a testament to how much self-control Storm exerts over her emotions in times of stress such as this.

So how does this make Storm something other than an SFC? For one thing, Ororo is far more poised and graceful than most of the SFC characters I have seen. She is calm (usually), polite, composed, and does not think herself the better of any of the men in her life. Case in point would be the above episode I mentioned, where Storm bottled up her temper and her powers in order not to put the Professor’s life in jeopardy. It would have been far more of a struggle for Carol Danvers to do that, readers.

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Another thing which separates Ororo from the SFC model is her motherly tendencies. These first manifested in the comics when young Kitty Pryde – eventually codenamed Shadowcat – joined the team. Thirteen at the time in the comics, Kitty and her family had already been approached by a sinister telepath named Emma Frost. Kitty did not like the woman at all, but she sang a different tune when the X-Men – including Ororo – knocked on her parents’ door to ask to see her.

Kitty and Ororo apparently hit it off at once, and Storm has always been something of a “battle mother” for the younger X-Men. Shadowcat was not the last child she took a shine to; Ororo has “mothered” many other X-Men during their first days on the team, though I do not think she did it as obviously in most cases as she did with Kitty.

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The possible exception might have been in Evolution. In that series, Storm was given a sister who was married and had a son, Evan. Ororo is an only child in the original stories, but the writers for Evolution added a sister so they could bring her nephew, Evan Daniels, into the series. Codenamed Spyke, Evan’s mutant power was shooting greenish, bony spikes from his body. This meant that he had to drink a lot of milk to keep his calcium levels on a healthy plane.

But Evan was also a typical New York teen who thought he was tougher than he actually was. Ororo’s maternal inclinations were mostly directed toward him for the series’ duration as she tried to teach him that being tough meant more than talking hard and playing rough. She was also continually trying to get him to be more disciplined, as Evan had a bad penchant for fooling around or goofing off when he should have been studying – either at school or in the Mansion’s Danger Room.

This shows that, unlike the stereotypical SFC trope, Ororo has never demonstrated a dislike of motherhood. She has expressed on occasion a fondness for the role and a desire to someday be a mother, something she achieved in several alternate timeline comics with T’Challa. In two different timelines (or the same one) they had two sons; one was named after T’Challa’s father and the other was named Azari. So Ororo definitely does not check the Feminista boxes for hating children and motherhood.

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Storm and T’Challa’s son, Azari, in action.

Storm also does not have the super education the Femi-Nazis like to hold over everyone’s heads. Like Rogue, she learned most of her lessons on the streets, not in a brick and mortar school. And she actually had to learn those lessons from a younger age; Ororo was living on the streets of Cairo from the age of four. That was not easy or fun, readers.

This does not mean that Ororo is stupid or a rube. But it does mean that she is not a mechanic or super scientist. She is, as Evolution put it, a “weather witch” and a mother figure. Her interest lies in people and nature – and not in the way that the Feminists would want her to focus on these things.

I have never had any gripes with Storm prior to the X-Men film franchise. Halle Berry, most likely due to the directors’ interference, does not do the character justice, even all these long years later. My only gripe with the character in the comics was her first combat suit and a recent remake, which exposes way too much of Storm’s body. Newsflash, Marvel writers, combat includes getting shot at and having knives or other sharp objects thrown at you. The absolute LAST thing a woman – or a man, for that matter, unless he is the Hulk or someone like that – should be wearing on the battlefield is a revealing suit. It looks great on the runway but it is a bad, bad, bad idea in a fight.

As I said in my post about Rogue, I think Storm is one of the few characters who can skate by with long hair. With her powers, very few people can actually get close enough to her to grab her hair, let alone any other part of her body. And even if they do manage to tackle her out of the sky, her hair will be the absolute last thing they will reach for because they will not want to grab and hold her. They will want to knock her out as fast as possible so that they can slap an inhibitor collar around her neck.

So no, I do not want Ororo’s hair cut short, as Halle Berry has occasionally worn it. And no, I DEFINITELY DO NOT WANT STORM TO HAVE A MOHAWK. PERIOD!!!!!!!

I can also give Storm a pass on the cape she wears. Normally, I do not care too much for superhero capes. You can thank The Incredibles for this one, readers; the film made a point that capes look great but they can also be as dangerous as long hair.

In Ororo’s case, her capes have rarely been in her way. She also used her cape at one point in the book, Kidnapped in the Catacombs, to snare Callisto’s foot. (Callisto is the leader of the Morlocks, enemies of the X-Men you can learn more about in the post “Spotlight: An Introduction to Marvel’s X-Men, Part 2.”) When Storm pulled on her cape, she sent Callisto flying headfirst into a wall.

The reason she was able to do this with her cape was because it was not a full cape; it was a crescent shaped cape that connected to the back of Storm’s suit and at the cuffs of her sleeves, leaving a space in between her arms and the cape. A regular cape, I do not think, would be able to do this, but I could be wrong.

Either way, my favorite suit for Storm was the silver one we saw in the 1990s X-Men series. The one she wore in Evolution was not bad, but it was too dark for my tastes.

Well, readers, this is my take on Storm/Ororo Munroe, and these are the reasons why I cannot picture her as a Feminista. She just does not have it in her. The writers could try to add it to her character, of course, but that would go over about as well as the Mohawk they gave her did. Storm is not the modern idea of an SFC and she can never be this because she was designed to be a heroine, not a talking point on a Feminist bulletin board.

The idea that some people might put her there, for any reason, is enough to get me pretty angry. If it has not yet been made clear by my posts about Cap, Hawkeye, Gambit, and Rogue, you do not want to mess with my favorite characters.

Excelsior!

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Spotlight: X-Men – Rogue/Anna Marie

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Recently, I found a number of posts dealing with a topic I have addressed on my own blog. Apparently yours truly is not the only one to notice and take umbrage with the current fascination for creating so-called “strong female characters.” There have been a couple of articles on other sites dealing with the subject. I have read them and they have gotten the gears in this cranium turning, which lead me to today’s subject: the X-Man Rogue.

First off we will go down the list of Rogue’s abilities. Those familiar with her history in the comics and television will have to bear with me, because I am going to rehash some old storylines to keep everyone in the loop.

The Marvel newcomer who is not entering the multi-verse via the poisoned comics will find Rogue in the X-Men films. This version of Rogue is close but not quite the same as the one found in older comics and cartoons. There is no slight intended when I say that the film portrayal of the character is actually a poorer presentation than the original. Anna Paquin does a good job as Rogue; it is the writers and director(s) of the X-Men films who have mishandled the character.

Anyway, if you “met” Rogue in these films, then you know that her mutant ability is to absorb the memories, talents, and/or mutant powers of anyone with whom she comes into skin contact. You also think she got that white streak in her hair after Magneto force-fed his abilities to her before the final battle in the first movie, but she had that from the moment she appeared in the comics. (I do not like how they gave it to her in the films; it takes away from her character – in my ‘umble opinion.)

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I have stated many times that I do not like the X-Men films, so I am going to stop talking about them here and go straight to Rogue’s comic book and cartoon histories. Similar to the films, Rogue’s mutant power manifested when she and her boyfriend, Cody, were having their first kiss. Rogue was thirteen at the time and so she was more than a little frightened when Cody suddenly passed out mid-smooch.

Rejected by her family for being a mutant, Rogue ran away from home, afraid to make skin contact of any kind with anyone. Mystique, in a guise other than her real blue-skinned, red-haired form, found Rogue and recruited her into her latest cabal of mutant trouble makers. She practically adopted Rogue as her own daughter….

…But she treated her as a secret weapon, using Rogue to her advantage in fights with the X-Men. Rogue was completely loyal to Mystique because she had taken her in and given her direction when no one else had and when no one else would give her the time of day. She rarely balked when told to use her absorption abilities on an X-Man, security guard, or some other person Mystique wanted knocked out or who had information she desired.

The one instance I know of in the comics where Rogue refused to use her power was when Mystique told her to absorb Angel’s abilities. Rogue was afraid that she would grow wings like his, so she did not want to touch him. As you may know from watching the films, readers, the powers Rogue absorbs eventually fade away. The memories and skills she “downloads” along with them remain like “ghost files” in her head, but they do not (usually) bother her after a while. Prior to 2015, the writers made it possible for Rogue to “recall” individual powers and abilities she had previously stolen from people, something I consider cheating. But in the case I mention above, Rogue did not have that power and she feared she would be stuck with Angel’s wings permanently if she touched him, so Mystique did not get her way in that episode.

Eventually, Rogue’s servitude to Mystique led her into a fight with Carol Danvers. At the time Danvers’ codename was still Ms. Marvel, and so her uniform consisted of a black swimsuit with a yellow lightning bolt emblazed on the front. Because her suit had no sleeves or pants, she was a perfect target for Rogue’s absorption abilities.

Thinking Danvers would be easy enough to overcome, Rogue grabbed hold of her and started draining her powers.

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But unlike Rogue’s other opponents, Danvers did not immediately pass out. Since her powers come from Kree DNA that was somehow bonded to her body, Danvers possesses almost as much physical strength as Ben Grimm. She also has the ability to fire bolts of energy from her hands, sub-supersonic flight, indestructability, a ferocious Kree temper, and a precognitive “seventh sense” that allows her to see her opponent’s next move before it happens. I have never seen this last power demonstrated – and the number of times that Danvers has been smacked, thrown around, or otherwise hit makes me think she does not actually have this power.

Anyway, the Kree DNA kept Danvers awake longer than any of the other people Rogue had touched. It also fueled her anger and she started fighting back. Frightened by Danvers’ unexpected reaction to her powers, Rogue tried to let the woman go and make good her escape.

But Danvers would not let Rogue go. The two struggled for an eternity of minutes before they crashlanded. Once that happened Rogue discovered that, not only was she physically unharmed along with Danvers, but the other woman was out cold at last beside her in the dirt.

After this, Rogue found she had absorbed Danvers’ capabilities of flight, indestructibiliy, and superhuman strength. These powers did not fade over the next two or three days, as all her other “borrowed” powers had, and it looked like they were hers for keeps.

But she soon discovered that these fantastic powers came with a terrible price. Her prolonged contact with Danvers’ meant that she didn’t just have the woman’s memories and powers; Danvers’ psyche was stuck in Rogue’s mind and body at the same time Danvers’ own body remained in a hospital in a coma. Her personality – almost her entire being – was seemingly just as much Rogue’s property now as her powers were.

This unintended arrangement left Ms. Marvel less than pleased, and Rogue soon found she didn’t like it either. If Ms. Marvel really made an effort at it, she could commandeer Rogue’s body. Rogue would black out in one place and wake up in another, sometimes wearing Danvers’ suit or accoutrements and surrounded by the things Danvers enjoyed. This was more than a little frightening and upsetting for her, and it brought her to the realization that she had practically committed murder by absorbing Danvers’ mind into herself.

As Rogue’s guilt grew, she asked her “Mama” to find a way to make Danvers go away or to transfer her out of her body. But Mystique did not know how to do that and, what is more, she did not want to do that. She might have thought that Rogue could adapt to having Danvers in her mind or something like that, too, because she wanted Rogue to go on using her powers – despite the fact that her “daughter” was sharing space with another woman who could take control of Rogue’s body at the most unexpected or unwelcome moments.

This led Rogue to run away again. Knowing the X-Men as well as she did, she went to them for help in removing Danvers’ psyche.

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Her reception was not a warm one. Danvers had worked with the X-Men on more than one mission, so they considered her a friend (for what reason, I have no idea). Wolverine was especially upset, since he and Danvers were particularly close. (Again, I have no idea why they were such good friends. Danvers should have driven Wolvie half crazy ninety percent of the time, but this did not happen, probably because the writers were working overtime to make their “uber woman” more acceptable to their audience through her acceptance by the other characters in the Marvel Universe.) Aside from the Professor, no one on the team saw anything likeable about Rogue, and she was a virtual outcast in the team she had sought out for help, as well as to begin to make amends for her past misdeeds.

But Rogue did finally earn full acceptance by the X-Men, becoming one of their most valued members and friends. Wolverine ultimately thawed to her as well, to the point that he became her informal protector and mentor during her early days on the team. She has since become one of the most recognizable and loved characters in Marvel Comics, as evidenced by the fact that yours truly is a fan of her.

What does Rogue have to do with the push for feminization in fiction? For a long time in the comics and cartoons, Rogue’s most apparent abilities were the ones which she had stolen from Danvers, to the point that I, as a young viewer, thought they were her actual mutant powers. Throughout the 1990s comics and cartoons, Rogue would punch or throw the villains into walls, knock down buildings, or hold up heavy pieces of buildings during different battles.

This meant that she was able to shake off resultant punishment in a battle as well. While fighting several Sentinels in the 1990s pilot, one of the robots hit Rogue in the back with his fist, sending her smack into the floor. Lifting herself up on her hands and knees at the bottom of the crater, Rogue shot the robot a smile and chided it for its bad behavior. Then she flew up, grabbed it under the arm, and threw it to the floor, where it promptly flew to pieces.

That is a pretty impressive display of strength, you have to admit. And I was young enough that such displays excited me. I happily rooted for Rogue whenever she pulled off an amazing feat of strength like that. I was a young, impressionable child who loved superheroes. I wanted to be strong when I grew up, strong enough to fight evil the way that I saw my heroes fighting it every Saturday morning. It is completely normal.

I do not know when it happened, but after a while Rogue’s apparent superpowers stopped being the main reason for my interest in her. It might have been the episode where she and Nightcrawler learned they were related through Mystique, or it might have been a different show entirely. All I know is that, after a while, I liked Rogue for Rogue and not for her superpowers.

Again, you ask, what does all this have to do with the strong woman trope we are having forced on us in fiction today? Some people have said that the feats of strength Rogue pulled off in the ‘90s might have been overdone.

This is entirely possible, even probable, but I would like it if these critics would keep a few things about her in mind. Some of the reasons Rogue’s fighting style in the ‘90s (and before and after in the comics) may have looked improbable were because Rogue herself did not actually know how to use her strength, or she was relying on Danvers’ understanding of how to use increased strength during a battle.

And, because she had Danvers’ indestructability, Rogue might have thrown herself into certain situations for no other reason than to protect a teammate who would squish far more easily than she would. These are possibilities I would suggest for any maneuvers the writers had her perform which people find hard to believe. I think they should remember that, from Rogue’s point of view, these maneuvers might have seemed totally normal or reasonable to her, given what she knew of using her super strength. Rogue did not have the best education, which we’ll cover in more depth below, and so she did not and does not know as much about physics as readers/viewers and others do.

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The other thing viewers and readers should keep in mind when they watch Rogue fight is her absorbing ability. If she suddenly acquires the strength of the Unstoppable Juggernaut and begins throwing him around, it can look a little silly to us. Here is a girl who barely comes up to Juggernaut’s hip whirling him around over her head like a ragdoll. Under normal circumstances, it is totally implausible and stupid looking.

But Rogue is not normal, especially when she absorbs the powers of others. If she absorbs Juggernaut’s power, then she has his strength. Whether she has it in proportion to her size, weight, and height does not matter; you could drop a building on her while she has Juggernaut’s powers and she won’t even get a bloddy nose, for the simple reason that he would not get a bloody nose. Unfair? Maybe, but this is fantasy we are talking about here. We enjoy it precisely because it allows us to imagine stuff we cannot actually do.

The other thing to remember is that Rogue cannot just activate the powers she steals willy-nilly. She has to access the memories of the people who actually own these powers so she can avoid blowing up the countryside or flooding Manhattan. If she wants to use Juggernaut’s own strength against him, she will rely on his memories – muscle and conscious/subconscious – to make the best possible use of his powers. Juggernaut’s fighting style is not Rogue’s, nor should it be. But when she immerses herself, however shallowly she does it, in his memories this means that we will see her fighting the way that he does. It looks ridiculous, but when you keep this aspect of her powers in mind it becomes understandable and allowable.

Now this does NOT mean the writers should not be held to a high standard when they portray her pulling off these feats, but it does mean that it behooves us, as the audience, to remember the McGuffin that allows Rogue to survive these battles and/or perfom these stunts. It is a balance between the writers knowing their craft and the audience accepting the parameters of the story they are telling. Writers who abuse or talk down to their audience must rightly be called out for their arrogance. But an audience that will accept a good story with thousands of impossible McGuffins scattered throughout it should not throw stones in glass houses. That is my opinion, anyway.

Now we will discuss why Rogue is not an “SFC” or “Strong Female Character” in the vein that Carol Danvers, Thorette, and Thundra are.

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Long story short, Rogue does not qualify as the modern strong woman. First, her character design has fluctuated since the ‘90s and she no longer has the muscle structure of Ms. Marvel. Rogue is nothing like Carol Danvers, Thundra, or Thorette. These female characters are cardboard cutouts designed to appease and appeal to the Femi-Nazis, who are forever unhappy and whose hunger for the destruction of Western culture is utterly insatiable. It may appear from her 1990s debut – and, for all I know, some of Marvel’s newest stories – that Rogue qualifies as a “SFC,” but the fact is that Rogue is not a cardboard cutout, nor is she a strong woman in the sense that she is faster, smarter, and stronger than the guys.

One of the first people to admit that she is not smarter than almost anyone you could name would be Rogue herself. She is capable of outwitting an opponent and she is not stupid, but she is not a scholar, or a mechanic, or a super genius, or any of the other “SFC” tropes. What is more, she does not – or did not – pretend to be any of the above when I watched her on television and knew her in my limited way in the comics.

Most of the knowledge that Rogue possesses of higher mathematics, scholarly enterprises, etc., is knowledge that she stole from others. In the comics, Rogue ran away from home when she was thirteen. She spent years on the road after this, and a few more years under Mystique’s “guidance” before joining the X-Men. I do not think there was a lot of time in there for regular schooling, do you, readers? No, there was not. So this means her formal education ended, practically speaking, after she left home.

Now Danvers went through all the schooling necessary to become an Air Force pilot and Jane Foster – who used to be a perfectly respectable character – had to go through extensive schooling and training to become a nurse. We are just supposed to accept that Thundra, being from an alternate universe where women are the dominant sex (ignore the barfing sounds on the other side of the screen, please, readers) is naturally smarter than any man on this Earth or her own – though it is funny how she never shows it.

None of the above applies to Rogue. Everything she has learned since she discovered her powers has been taught to her by circumstance and by the consequences of her choices; her smarts were earned in the school of hard knocks, not in a brick and mortar building. Danvers, for all her supposed superiority to men, learns nothing from the battles she takes a part in. The evidence of this is that she is one of the few Marvel characters with no ability to resist telepathic control for even a fraction of a second. Rogue has had to learn to be tough to survive; Danvers survives through the writers’ stubborn intent to keep her alive.

In moments of downtime in the 1990s series, Rogue also had a generally cheerful demeanor. She smiled, laughed, and joked regularly; this showed that she was someone who genuinely loved life, despite the numerous punches she had been dealt by it.

In contrast, Danvers’ sense of humor is thinner than cellophane plastic. When she teases or jokes, it sounds tinny and unreal; when she smiles, it does not soften her features. It makes her look like she is stretching her face to the breaking point.

Something else that differentiates Rogue from the “SFC” trope is that she is vulnerable. I read a book some time ago by Fr. Dwight Longenecker called The Romance of Religion. One of the interesting things he mentions in the book is that hero(es) of stories tend to have a fault or a wound that they must bear as they do their duty or carry on their quest.

Looking out over most of fiction – and especially Marvel – I have to think he is on to something here. From Spider-Man to T’Challa, from Captain America to Punisher, from Hawkeye to Ben Grimm, most of Marvel’s characters have some sort of emotional injury that they carry with them wherever they go. And ninety-nine point nine percent of them have character flaws they have to either overcome or continually wrestle to control – although by now, that fact is out the window. In Marvel’s – and our – brave new world, flaws are to be embraced, not resisted. They are natural to us while self-control is just an artificial restraint society uses to keep us down. (Yes, I am being sarcastic, readers.)

In the original stories, Rogue’s great emotional weakness was her inability to make skin contact with another human being – or any other being, for that matter. She had to wear longsleeved shirts and long pants, as well as gloves, all the time. She could not pat Wolverine on the hand with her own bare hand. She could not let someone brush up against her arms if her shirt, jacket, or suit somehow lost its sleeves – and she could never, ever kiss a man for more than a few seconds. And even the briefest of kisses would be dangerous for him.

This last was particularly painful for her because, during the ‘90s, Gambit was actively courting her. Oh, he would flirt with plenty of other girls during the series, but the one he consistently went after with every ounce of charm he could muster was Rogue.

Usually, Rogue would flirt back, but that was as far as she could and would let it go. Aside from two different times that I know of where Gambit kissed her, Rogue had to put her glove over his mouth and kiss that to show her feelings for him. On more than one occasion, her frustration with her inability to safely touch someone, anyone, would drive her to anger and/or cause her to make an avoidable mistake.

This was Rogue’s greatest vulnerability, but she had others. When captured along with the other X-Men by Mr. Sinister and his Nasty Boyz in the ‘90s TV series, Rogue admitted to Gambit that she was scared. Sinister had found a way to block mutant powers in this episode, which meant that both Rogue’s innate absorption abillities and the powers she had taken from Danvers were suppressed. “I don’t know how to fight these guys without my powers,” she admitted to Gambit.

Now, readers, can any of you name one single time that Carol Danvers has admitted that she is afraid of something/someone? I cannot. To the best of my knowledge, Danvers has never once shown fear. She might – MIGHT – show concern, but most of the time when she is captured or in a situation that looks grim, she just becomes angry. Thorette seems to be going the same route, while Thundra has always had a demonstrable temper and no real sense of, or respect for, fear.

Rogue certainly has a temper, but in this episode, anger was the furthest thing from her mind. Her primary emotion was fear because she did not know how to fight without using her powers. What “SFC” shows or admits to fear? I do not know of any, but if you can name me one, readers, I will look into her.

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In the series that followed the ‘90s X-Men, the writers changed Rogue’s appearance. They dropped Ms. Marvel from the series’ storyline and left Rogue to rely on her absorption ability alone. They also gave her and the rest of the teenage X-Men close combat and weapons’ training.

While this was a plus for Rogue, leaving her a way to protect herself if she could not somehow bring her mutant powers to bear, in my opinion the writers did make one mistake with her characterization in this series: Evolution showed Rogue as an anti-social teenage girl who was into Gothic makeup and clothing. Forget that her makeup would not have lasted five seconds in battle (yet it somehow lasted the entire series), the change in her demeanor was not something I think was really necessary. Rogue did well in the series but I did – and do – miss the cheerful zest for life she exhibited in the ‘90s.

Personally, I suspect the writers gave Rogue more angst because they thought it would sell. It must have, because the series lasted four seasons. Her tendency to brood and lose her temper did not detract from her willingness to help others, which was good, and this demeanor did give her a chance to connect with Wolverine as a father figure. While this last was especially nice, I still miss her earliler deportment a lot. If Marvel ever rights itself and starts telling good stories again, I hope they give Rogue back the joi de vive she had in the ‘90s.

One other good thing about Rogue’s appearance in Evolution was her shorter hair. It is a well known fact that sexual predators target women with long hair because then they can grab hold of it and use that hold to force the woman to go where they wish. Such a hold is painful – if you do not believe me, readers, try it on yourself. (Trust me, it hurts.)

One of the strange things that writers for modern films and stories – including comics – keep doing is they are sending their heroines into combat with long hair. This is silly, as it can be a weakness; the heroine’s hair could catch in a machine and suck her down a hole, or her opponent(s) could grab it and use that hold to keep her still. Your heroine may look great with long hair, but remember, readers and writers, that even Princess Leia’s hair was done up in such a way that a Stormtrooper couldn’t grab it and yank her back. There was also no chance of her long locks getting caught in the Millenium Falcon’s inductors because it was pinned up and out of the way.

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Allowing men into combat with beards is no more practical than sending women into a fight with long hair. (Yes, I AM looking at Cap’s beard in Infinity War.) One of the reasons the Romans shaved was so that, when they got into personal combat with an enemy, he would not be able grab the Roman’s beard and hold him immobilized long enough to behead him. Ask the Romans how they know about this.

Now most stories are fantasy, of course, and in some cases you can actually excuse the female characters’ long hair (who is going to be able to get close enough to Storm to grab her hair, I’d like to know?). However, Rogue’s shortened hair is not a problem for me, nor is her more feminine muscle tone.

This is why I do not and cannot see Rogue as the Feminist ideal of female superiority. Rogue is a normal woman with a power that she sees, with justification, as a curse rather than a gift. She has insecurities and fears; she makes mistakes and she is not well-educated outside of life’s hard lessons. Her strength does not come from her superpower or the powers she steals – it comes from her williness to fight evil. It comes from her desire to protect her friends and to make up for her errors in judgement. It comes of her willingness to consistently choose to be a heroine, even when doing so hurts her the most.

This is why she is one of my favorite X-Men and one of my favorite Marvel characters. This is why I cannot consider her a member of the “SFC” club, at least in her previous portrayals in the comics and cartoons. These days I can believe that Marvel would erase her from its canon if the banana brains in charge thought that would get them new subscribers and buyers. If they are going to try and make her the big, strong female character stereotype, they will ruin her as they have ruined all the other characters they are abusing.

But there is nothing I can do to stop them from torturing themselves like this. And at this point, telling them, “Hey, your company is bleeding money all over the place,” appears to be a waste of breath. If they want to bankrupt themselves, then nothing I say or do will stop them. I can only hope that when that happens, someone who loves the characters will buy the company and that they will hire good writers to clean up the mess. And yes, I would volunteer to be one of those writers in a heartbeat.

I hope it does not come to that, but it looks like it might. But if there is one thing Marvel’s myriad heroes have taught me, Rogue included, it’s that even when you get punched in the teeth, it does not mean the battle is over. It just means you got punched in the teeth. That is no reason to give up the fight.

So no, I do not intend to stop fighting. Only dead fish go with the flow, and I do not intend to be a dead fish. There is more than one way to fight, and the best way to fight Marvel’s current hierarchy is to introduce potential new Marvel fans to original Marvel fare.

In the interest of doing that, I recommend that you look up the 1990s X-Men televsion series, readers. Then study up on the characters in it, along with Marvel’s other heroes and heroines. Read between the lines; it is not the battles the characters take part in that are important, or the powers they wield, or the atrocities the current writers are making them commit –

It is who they are as characters that is important. This is what Marvel has decided to forget….

…..So this is what we have to remember and pass on to others.

EXCELSIOR!!!!

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Spotlight: Avengers – The Incredible Hulk

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“Hulk SMASH!!!”

I am not Big Green’s biggest fan. I like him, but he has never been my favorite superhero. Most everyone who likes the Hulk recognizes the words I have used to open this post. Hulk is best known for his smashing, after all.

For some time now a friend and I have been catching reruns of Bill Bixby and Lou Ferrigno’s The Incredible Hulk television series. While I have read about the series before, I have never seen it. My friend had even less exposure to the series than I did – until recently, of course.

After watching a few of these episodes, my friend commented that the stories within each show were good, and I agreed. Though the special effects are hardly that special today, that was not what my friend and I meant when we concurred that the series was good.

What we meant was that the stories themselves were good. Usually, The Incredible Hulk could be counted on to turn out a good story. There have been a few episodes that I would say fell flat, but that has more to do with the story itself than with the actors or the special effects. On the whole, however, The Incredible Hulk was reliable entertainment for its time and, I daresay, for ours.

This conversation with my friend led me to mention what I had always found likable about the Hulk while I was growing up. It was never his size, strength, or unparalleled ability to “smash” that made me an appreciator of the Hulk. I liked the Hulk because, despite his rage and general tendency to break stuff, he was still a gentle giant to the innocent and/or the helpless.

This is something that later stories in the comics have largely abandoned. In the original comics, The Incredible Hulk television series, and the 1990’s Hulk cartoon, Big Green would never hurt an innocent person. Not on purpose, at least. Someone may have been standing in the wrong place at the wrong time when the Hulk got into a fight and was therefore hurt, but Big Green never deliberately injured someone who was not a threat to him or who was a good person.

For instance, the Hulk always had a soft spot for kids in the shows I saw and in The Incredible Hulk. I can remember a cartoon episode or two where Bruce Banner befriended a young child, only for the Hulk to later manifest himself in order to protect said child. Hulk would also avoid hurting someone who had befriended Banner or who had demonstrated that they were a nice, good, and kind person.

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And in the Bixby/Ferrigno series the Hulk had a knack, as he did in the comics and cartoons, for ending up in the right place at the right time to help people in bad situations. Cursed with a power and alternate personality he did not want, forced to wander the world as an outcast, Banner would lament that he could not have a “normal” life. I sympathized – and still do – with that, but I also think his focus on the negative meant that he did not often see what a great gift he had also been given.

Originally weak and unable to help others, the emergence of the Hulk gave Banner the ability to play the knight errant. No, he could never have a so-called “normal” life, and that could be annoying and sad. But how many people would have been harmed or might even have died if Bruce Banner did not have the Hulk residing within him?

This is a plot and character device which the comic book writers have gravitated away from since the House of M storyline. Those earlier stories hinted at a provident Will behind the Hulk’s appearance and his subsequent, well-placed position in the lives of others where he invariably helped make those he encountered safer, happier people.

As a young viewer I sensed this about the Hulk. Misunderstood by Thunderbolt Ross, the general public, and even Banner, the Hulk was nevertheless a force for good in the world and not a monster of destruction, as he has often been described. Yes, he broke a lot of stuff more often than not. But he never did it just for the heck of it; he did it to protect others or stop the bad guys. I can accept destruction when its main aim is to protect good people and stop bad people. Buildings can be replaced and the land is always shifting. Individual humans are utterly irreplaceable.

Though the comic book writers have fallen away from this understanding of the Hulk, the cartoon and film writers seem to have begun to re-explore this side of the character. Oddly enough it was Joss Whedon, the proclaimed atheist, who led the charge for this change. This is made plainest in The Avengers, where the famous director/writer has Tony Stark point out that the Hulk may have saved Banner’s life in the Gamma explosion for a purpose.

Marvel’s writers have subsequently shifted their portrayal of the Hulk in the cartoons to show him as a thinking and usually coherent character, instead of a rage monster with the vocabulary and intellect of a four year old child having a righteous temper tantrum. This is a nice change but it takes away, for me, a little of the gentle prodding we had in earlier stories about the Hulk. The idea that Providence intervened to save Banner’s life and granted him the power to back up his will to help others is what made me fond of the Hulk. I think this is one of the reasons why I drifted away from the character as I grew up – my own inclination toward precision in place of wholesale attack notwithstanding.

This providential element in stories about Big Green is the reason why I enjoy watching the reruns of The Incredible Hulk on El Rey when I can. These stories, as Bill Bixby said, were made for adults but “children can watch them, too.” He was reportedly very upset when the show was described as mere children’s entertainment.

I have to agree with him on that. The Incredible Hulk and other, older Marvel fare was made for adults and children alike. Both could read it and learn lessons about life from the stories the company told. This is one of many things that Marvel lost after House of M, sadly, and one of the things I wish they would work to rediscover. They will tell better stories if they are only ready to relearn what will make a great story.

If you can, readers, try to catch a few episodes of The Incredible Hulk on El Rey. They are “retro” and dated, and this is not a television series which modern special effects fans will take very seriously. But if you like a good story, The Incredible Hulk can be counted on to deliver nine times out of ten. That is all any of us can and should ask of a storyteller; a good story, well-told, and appreciable to a wide audience.

Have fun smashing with the Incredible Hulk, readers!

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Do Marvel Fans Hate Women and Diversity? Not Hardly.

Hey, readers! Did you happen to hear that Marvel’s comic book sales are declining?  If you did not, then you probably missed what Marvel’s VP of Sales, Mr. David Gabriel, had to say about it.  Read on to find out just what he said:

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“What we heard was that people didn’t want any more diversity. They didn’t want female characters out there. That’s what we heard, whether we believe that or not. I don’t know that that’s really true, but that’s what we saw in sales.  We saw the sales of any character that was diverse, any character that was new, our female characters, anything that was not a core Marvel character [sic], people were turning their nose up against.  That was difficult for us because we had a lot of fresh, new, exciting ideas that we were trying to get out and nothing new really worked.”  (Source:  http://www.express.co.uk/entertainment/films/787249/Marvel-comics-diversity-Ironheart-Kamala-Khan-female-Thor-Iron-Man-Avengers-Infinity-War)

This is news Marvel apparently got from the retailers selling its comics. While some retailers saw an influx of new clientele, most saw a big drop as people ignored the new comics because their favorite characters – Captain America, Iron Man, Falcon, Hulk, Thor, etc. – were being killed off and/or humiliated, which means that their audience felt depressed and/or mortified.  Marvel’s comic book sales have weakened in proportion to the steady stream of replacement, politically correct characters and stories the company has been trying to shove down our throats for the past three or four years.

I was astounded to see this statement from Mr. Gabriel. I have known for years that Marvel would lose revenue if it abused its audience by maltreating or destroying its characters.  If you have followed my blog for a while, you know this is so.  What surprised me was that a member of Marvel’s hierarchy actually admitted that sales were dropping because of the “new materiel” they were introducing.  I told ‘em this was going to happen, but did they listen to me?  ‘Course not.  And now they are shocked that people do not want to buy comics that make fools of and/or destroy their favorite characters.  Well surprise, surprise, surprise, Marvel!  How could you have missed that fastball?

I can hear some of you fainting right now. You think I am an awful person for celebrating this news, no?  That I hate women and diversity, too, n’est pas?

Well, no, I don’t. Allow me to explain what made me rejoice over Mr. Gabriel’s statement:  what made me happy about his announcement was that he has finally admitted, on behalf of the company he serves, that politically correct characters are turning fans off of the Marvel franchise.  He has finally acknowledged the obvious; that so-called “characters” like Jane Foster/Thorette, Amadeus Cho/New Hulk, Riri Williams/Ironheart, Kamala Khan/Ms. Marvel, and Gwen Stacey/Spider-Girl, along with other “new,” “diverse,” and “legacy” protagonists – which are supposedly “meant to bring women and minorities to the forefront of social consciousness” – are really hurting instead of helping Marvel’s brand.

So if I like what Mr. Gabriel had to say, then why am I writing this post? I am writing this post because he and his colleagues are missing the point of why their sales are falling.  Mr. Gabriel says what they believe; that legions of Marvel’s fans hate women and diversity, and so they need to keep doing what they are doing in order to win their “deplorable” fans – you and me – over to their view of the world.  In essence, they are accusing the thousands of people who support their business of widespread bigotry, intolerance, and stupidity; completely ignoring the beam in their own eye to pluck out the mote in ours.

This is what has Marvel fans so upset. This is why they have stopped buying the new comics.  Marvel fans definitely do not hate diversity or women.  The latter is proved by the fact that Marvel already has hundreds of established female characters with existing fanbases – although you would not know that if you were new to the Marvel multi-verse or have only heard about it from the mouths of twits (most comic book film critics).  Go to my post “Offended, Insulted, and Not Shutting Up” for a roll of Marvel’s female characters and a link to a longer list where you can learn about more of them.  The fact is that these reviewers could care less that Marvel has a panoply of female characters for the simple reason that it is not part of their agenda.

As for the idea that Marvel fans hate diversity, this is a laughable argument because it is so easily invalidated. Marvel has been diverse since it was founded, something that is shown through characters like Storm, Falcon, Black Panther, Misty Knight, and Luke Cage, all of whom are black.  Separate sources have consistently claimed that either Black Panther or Falcon was the first black superhero to appear in comics, beating out DC’s Black Lighting.  I think that Storm might predate the three of them, but I am not sure.

Quicksilver and the Scarlet Witch are Gypsies, readers.  Red Wolf, Mirage, and Thunderbird are American Indians; and Colossus and the Black Widow are Russians who have become U.S. citizens.  Then there is Nightcrawler, who is German and who barely resembles a human; Silverclaw, who is Brazilian; Sunfire, a Japanese man who follows the tradition of the samurai, and Bengal, a Vietnamese superhero who lives and works in Vietnam.

If Marvel were not diverse, readers, then these characters would never have been created by Stan Lee and the original writers. If Marvel’s fans hated diversity, none of these characters would have lasted more than one issue.  Before 2015, they were all alive in the Marvel multi-verse, which means they have, collectively, been around for nearly seventy years.  How can people who have kept these characters “alive” for so long hate diversity?  Answer:  they cannot, and therefore they do not, hate diversity.

So if Marvelites do not hate women or diversity, then why is Marvel losing revenue on its new comic books? Hmmmm…. Maybe these books are doing poorly because the fans, new and old, actually like Thor Odinson as the Prince of Thunder and not some prancing female using his hammer and claiming to be something she is manifestly not. Maybe fans truly liked Bruce Banner as The Incredible Hulk and really hate the fact that Marvel had one of his best friends kill him. Maybe fans are in fact more than a little bit upset by Marvel’s decision to make Steve Rogers a secret agent of HYDRA and a flaming NAZI. Maybe they genuinely like Tony Stark as the Invincible Armored Iron Man who can build his way out of a trap with a broken laptop and some chewing gum, instead of a fifteen year old science whizz-kid who could do her own thing instead of shoehorning herself into his act.

And maybe they do not like one of the first black superheroes – Falcon – being shoved into the role of Captain America, since it smacks of condescension and patronization.  This move by Marvel is obviously meant to appease the PC police.  And by doing this to the Falcon, Marvel’s writers are essentially stating that they think Sam Wilson – and therefore his fans – should not be satisfied that he is one of the first two black superheroes in comicdom.  They would rather destroy the Falcon to make a new, “modern” Captain America that is anything BUT an American.

So maybe the reason sales are dropping is because fans think that pushing Falcon into Steve’s suit, handing him Rogers’ shield, and leaving him to spout anti-American claptrap like a ventriloquist’s dummy actually demeans African-Americans instead of “elevating” them or making Sam “more relevant” to the times.

Yeah, I think these facts may have more to do with your declining sales than sexism or racism, Mr. Gabriel.  Too bad you and everyone else at Marvel have not realized this yet.  Or, realizing it, you have decided that you know what we want because you are the “better and the brighter” of society and YOU are never wrong.  We are just peons who cannot see the mote in our eye.  That might be true, but you are missing the enormous beam in your own eye, buster.

So much for the customer is always right, eh, readers?

The reason I am writing all of this is because the people presently helming Marvel – and their enablers/cheerleaders in the world of critics – do not want more diversity or female characters. They want an emasculated male populace and homogeneity.  They want black to be white, left to be right, and the population of the world to be nothing less than mental clones of them.  Though they are doomed to failure, this does not mean that we can simply sit on the sidelines and let them ruin the Marvel universe(s).  It means that we have to fight back against their dehumanizing push for sameness.

This leads me to another problem that Marvel is currently experiencing. An article at http://io9.gizmodo.com/marvel-vp-blames-women-and-diversity-for-sales-slump-1793921500 states that another reason for the drop in Marvel’s sales is due to the increasingly schizophrenic story arcs the company has been churning out for two years. I actually think this problem goes back to at least the Disassembled and House of M story lines.  The reason I trace the problem back that far is this is when I noticed that Marvel was going off the rails. Disassembled and House of M may not have been the starting points, but they were the arcs which made me bite my lip and think, “@&*!, here we go with the death, despair, darkness, your-heroes-are-really-villains-in-disguise downward spiral.”

Just think about it, readers. After House of M the Marvel universe – which was originally upbeat, positive, and generally told decent to good stories – took a nosedive into the muck.  After House of M we were fed the atrociously immoral and disgusting “Ultimate Universe.”  Then we were handed the insipid “New Avengers” storyline and endured the advent of the largely lukewarm “Young Avengers” crew.  We were handed the demoralizing Civil War arc next.  Then we had the sickening Avengers vs. X-Men event; the asinine “Unity Squad” story line, and the Original Sin plotline which led to the putrid rewrite of the Marvel universe(s) in the Secret Wars event of 2015.

According to Beth Elderkin, the writer of the article at io9.gizmodo.com, there have been “at least 12 events and crossovers [in the past two years]. Events, in particular, have become more of a chore than a reward. There’s little build-up or anticipation because you know another one’s right around the corner. They also can completely screw over beloved characters for the sake of drama, like turning Captain America into a fascist as Sam Wilson has taken [on] his mantle.

She says this makes it hard for new readers to focus, and I will not argue that these endless events do not help new fans to get their footing in the Marvel multi-verse – or, rather, what is left of it. But the problem she does not address is that none of these events or crossovers is positive. These stories are all negative and thus display brazenly the idea that Marvel’s management, who believe themselves the “best and the brightest” (but are truly the dumb and the dimmest), know what’s best for the rest of us. They also continue to drive the homogeneity mantra onto readers’ minds like a suffocating pillow. Not one of these events leaves a reader feeling uplifted and ready to face the world again. How do I know this?

Because that is what simply reading descriptions of these story arcs did and still does to me. And I am not alone, something which Mr. Gabriel’s admission about moribund comic book sales proves. Every last one of the story arcs I listed above may be compelling and addictive to some readers, but to most of us they reek of negativity, despair, and nihilism. How many people want to stew in an emotional/mental/spiritual refuse pile like this? If the downturn in Marvel’s comic book sales is as steep as Mr. Gabriel seems to believe it is, then I think I am safe in saying that ninety percent of normal, everyday people do not want this junk. This means that Marvel is selling to a narrow market which is shrinking day by day.

But why is Marvel having this problem at all? If the difficulty is too many dispiriting events, the company could easily fix the problem by turning the characters over to new authors, right?  Possibly, but from what Beth Elderkin says this entire problem is born of the fact that “….There’s been a steady decline in Marvel’s talent pool, because of better offers and independent retailers. One retailer mentioned at the summit that it’s especially hard to keep talented writers and artists when they can make creator-owned books at publishers like Image. Not only does it give them more flexibility to tell the stories they want, but they also keep way more of the revenue.”

Again, I will not argue with her. Though I have no idea what Marvel pays its artists and writers, I do know that the writers they are allowing free reign in their universe(s) at the moment should not be allowed anywhere near a keyboard or a pen. The “stories” that many of these writers are pumping out are evidence that they are intellectual hamsters running inside fetishified exercise wheels decorated with death’s heads.

So finding new writers for Marvel who have positive attitudes and a love of truth, beauty, and goodness is going to be a challenge. Believing that Marvel would hire these people seems to be asking for a miracle. And if Marvel currently has writers who want to tell true, good, and beautiful stories with their characters, these writers appear to be few and far between. And these people are either barely hanging on to their jobs or they have left for greener pastures.

“All right, Mithril,” some of you say, “if these are the problems, just what are we supposed to do about them? Marvel is a big company and they won’t let just anyone in. They specifically tell aspiring artists and storytellers, ‘Don’t call us, we’ll call you.’ How are we going to fix a company that doesn’t want to be fixed?”

Good question. There are several options available to fans, readers. If you are like me and my friends, and you do not like the stories which Marvel is publishing, keep doing what you have been doing: avoid their new comics like the plague. This means that their sales will keep plummeting and they will, sooner or later, be forced to clean up their act in order to stay in business. Or they will finally hire people who will do this service for us. Either way, remember that money talks. If your money is not going into their pockets, then the silence will get their attention.

Another option is to become a writer yourself. If you write good stories and books and they sell well, are positively reviewed, and have the masses talking with mouths and wallets, then Marvel will probably notice you.   Then maybe – just maybe – you will get lucky and they will tap you to write for them.

If you do manage to accomplish this feat, then I would add the caveat that you do your best to keep your eye on the prize. Put your slippers under your bed, as Denzel Washington advised, so that you always have to kneel down to get them in the morning. You got where you are by telling good, true, and beautiful stories, and this is what you want to do with Marvel’s heroes. Keep that goal in mind and you should be fine.

If you are not much of a storyteller, and you are already speaking by not buying Marvel’s comics, then you can always write letters to Marvel in order to explain your displeasure with them. This is what I do; I watch Marvel’s movies, read the older comics, and critique the cartoons. Besides blogging about the characters I enjoy as much as I can, I also write letters to Marvel’s top echelons, telling them what I think of their new comics (and I don’t think much of them).

You can do this, too, readers. Marvel has five different email addresses where you can send letters, as well as a section for general feedback on their website. I have never gone that route, so I cannot tell you what to expect if you try it. However, if you write letters to Marvel, put OKAY TO PRINT alongside your email’s subject heading and send it to one or all of the following addresses: onlinesupport@marvel.com, spideyoffice@marvel.com, officex@marvel.com, mheroes@marvel.com, and/or mondomarvel@marvel.com. And do not be threatening when you write to them.  Believe me; they will notice your letters, even if they are politely phrased.

The squeaky wheel gets the grease, and we Marvel fans have more right to be squeaky than that posse of small-minded critics and “cultural gatekeepers” do. Unless these people actually buy Marvel’s comics in droves (which they very obviously do not), they are not the audience the company has to please. It was our money that made Marvel what it is today, not the critics’ pens. I say it is high time we reminded Marvel of this fact.

For myself, I will continue to do all of the above. I know I sound as though I am crusading against Marvel’s hierarchy, and I guess I am, after a fashion. But I am doing so as a customer who desperately wants to preserve an enjoyed and admired product, so that I can pass it on to others to enjoy in the future.

I want to be entertained by Marvel for many more years, readers. Right now, they are not entertaining me OR legions of their fans. They are trying to force their view of the world on us through these “new,” PC characters, destroying the good and great and true ones in the process. That is cultural bullying, which is a form of intellectual tyranny. It must be stopped. The only way that we can convince Marvel’s management to right the ship is to tell them why we are not buying their product. But we have to actually tell them if we are to have any hope of returning Marvel Comics to the good, the great, and the true, which is timeless.

Until next time, readers….EXCELSIOR!!!!

Captain America: Civil War – Secretary of State Thaddeus “Thunderbolt” Ross

Image result for thunderbolt ross civil warIt has been a while since I saw a film villain who made me grit my teeth and grip my armrests in pure, frustrated anger.  Captain America: Civil War’s Secretary of State, Thaddeus “Thunderbolt” Ross, has achieved what even Loki managed to avoid.  He earned my undying ire.

Oh, sure, I do not like Loki.  He invaded the mind of one of my favorite characters and turned him into a killing machine for three days.  That is not a way to win Brownie points with me; he has my lasting dislike for it.  And, in truth, there is very little daylight between Loki and Ross.  The difference is that Loki has a twisted sense of humor that manages to make the audience laugh.  Remember that “Ta-da!” of his after he, Thor, and Jane, had escaped to the Dark Elves’ homeworld from Asgard?  I have to admit, it was a funny line and it made me smile.

Ross had no funny lines in Civil War.  Come to think of it, outside of his appearances as the Red Hulk in Agents of S.M.A.S.H.,Ultimate Spider-Man, and now Avengers Assemble, Ross has never really demonstrated a sense of humor.  In previous cartoons and comics, he was always bellowing like an angry bull or shouting with fury.  Not a friendly characterization, to say the least!

In Civil War, though, Ross leaves his bullhorn at the door for the most part.  He speaks softly here and carries a big stick.

That “big stick” happens to be the Sokovia Accords.  After the accident in Lagos, Nigeria, the U.N. dispatches Ross to present their ultimatum to the Avengers.  And Ross lays it all out in his speech when he first shows up in the Avengers’ Compound: the governments of the world have decided they can no longer tolerate the Avengers as free agents.  And they cannot accept it in part because the team is based out of the United States, is made up mostly of American citizens (Tony, Rhodey, Clint, Cap, and Sam are all native U.S. citizens while Natasha holds U.S. citizenship), and therefore the Avengers have an inherently American penchant for policing injustice abroad as well as at home.

Image result for avengers age of ultron quicksilver diesDid anyone else notice that when Ross listed what the Avengers had done for the world, he never mentioned that they had died for it?  Quicksilver is swept under the rug in this film, not by the Avengers but by the government, whose proxy is Thunderbolt Ross.  The Secretary of State never mentions that the Avengers, too, suffered a personal loss in the disaster in Sokovia.  Pietro Maximoff was a member of the team for only a short time, which is surprising (NOT) since bureaucrats are naturally inclined to fuss over whether or not all the i’s have been dotted and all the t’s crossed…

But the fact is that Pietro Maximoff was accepted by the Avengers as a member of the team.  It was not put down on paper and made official because time was of the essence.  But it was a fact, just as it is a fact that Quicksilver died in defense of his country and mankind at large.

It is a fact Ross ignores, thereby forcing the Avengers to ignore it.  Why?  Because Quicksilver’s heroic death does not help his agenda.  Throughout Civil War, Ross continually plays the guilt card on the Avengers.  If he were to mention Pietro’s death, it would lessen the impact of that trick because then the Avengers could turn around and point out the fact that they lost someone in the disaster in Sokovia as well.

So Ross does not give them a chance to bring Quicksilver into the debate.  He makes sure the argument is all about them and whether or not they should sign the Accords.  And he does this by playing off of their guilt, or attempting to play off of it.

You see, the guilt card has no more effect on Steve, Sam, or Clint than a bug buzzing by their ears would.  These men have known remorse and loss, having persevered through it several times already.  Steve lost several friends in World War II, most notably Bucky on that mission in the Alps.  Then he lost everyone and everything he knew during his seventy year hibernation.  Sam lost his wingman in Afghanistan on a night mission.  He has had to live with the knowledge that there was no way he could have saved Riley, while still feeling he should have saved him.  Clint was used to kill a number of people over the course of three days in Loki’s scheme for world domination, and he saw Pietro die to save his life and that of a young child.  But he made it through the remorse he experienced after these incidents in one piece, mentally and morally.

Ross is therefore unable to play on these three Avengers’ guilt because they were mature and endured it, finding the light beyond.  As Cap explains to Wanda, they learned to live with their failures.  They accepted them, and so they have control of their sense of shame.

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Sadly there are two Avengers who do not have control of their sense of blame.  The guilt card hits home with Tony and Natasha, as they have kept their “guilt wounds” open and fresh over time.  Tony has been carrying remorse over the fact that he wasted his life in frivolous pursuits while allowing Stane and others in his company to deal his weapons under the table to America’s enemies.  He thereby allowed a lot of bad people to kill innocents all over the world (i.e. Pietro and Wanda’s parents), as well as the American soldiers his weapons were meant to protect.

Now he is again being confronted with people who blame him for their losses, such as the woman in the back hall of MIT.  Not once, you notice, does he think to remind this woman and others like her that he lost a young teammate in Sokovia, too, and therefore he has some idea of what she and these others are going through.  Also, now that Pepper (who may still be dealing with the psychological aftermath of receiving the Extremis serum), has pushed herself away from Tony, he feels guilty about “losing” her.  Instead of doing something about this, he just accepts the blame and adds it to the pile he is already carrying around.

Natasha’s vision in the boneyard in Africa, courtesy of Wanda Maximoff, demonstrated that she still feels a great deal of guilt over her service to the U.S.S.R.  As I have said elsewhere, she has not yet forgiven herself for the crimes she was forced to commit.  She is still trying to “get even” with the past, and that is not going to work, for the simple fact that the past is gone.  All she and the rest of us have now is the present.

Ross knows that these two Avengers will be easy to guilt trip.  Neither of them had good support structures growing up; Tony essentially hated his father for his success while Natasha’s only family was the government, which abused her from childhood.  Tony’s poor relationship with his father, who built a business empire from the ground up, meant he only had a sympathetic understanding from his mother, whom he was closer to for that reason.  As long as Ross shows him some sympathy, Tony will quite literally roll over to meet his demands so that he can make the pain of his guilt “go away.”

With Natasha, however, Ross uses a different tack.  Natasha’s upbringing by the Soviet Union taught her that the government could – quite literally – do anything to her and get away with it.  Ross just has to threaten her and, no matter how vaguely phrased the warning, she will get the message:  Fall in line or we will hurt you and no one will be able to protect, help, or save you.

Rhodey does not need the guilt card played on him.  He has been trained by the Air Force to follow orders no matter what.  All Ross has to do to get him onboard is flash his medals and present the Accords as an order from the top brass.  Boom – Rhodey signs on the dotted line faster than you can sing the Air Force anthem.

Image result for thunderbolt ross civil warYou might think that Vision would leave Ross bemused as to what to do, since he is a synthetic being.  But Vision has to be the most easily suckered member of the Avengers after Rhodey.  Ross presents the Accords to him as an equation, a mathematical theory, and he sees the law as inevitable.  Chalk up another signature for the U.N.

As for Wanda – hah, piece of cake.  Her error in judgment in Lagos has left her feeling guilty.  That is why he plays footage of the destruction from Crossbones’ bombing, not to mention film from the other battles we have seen the Avengers fight over the years.  It is to target Wanda and the others, to make them feel more guilt.  With those images of Lagos hovering in her mind’s eye, Wanda will naturally want to prevent future mistakes of a similar nature.  Her signature will be the first one on the paper.

Except that Wanda surprises Ross by pushing the Accords to Rhodey.  I bet he did not see that coming.  (Shout-out to Pietro! 😉 )

Did Ross think he could get Cap to sign the Accords?  It is hard to say.  Having dealt with soldiers who are trained to simply follow orders, and being accustomed to shouting down those soldiers who questioned him, it is possible that Ross believed he could basically order Cap to sign the Accords and the First Avenger would do it.  But in light of the SHIELD/HYDRA war from The Winter Soldier, this seems to be a pretty stupid assessment on Ross’ part.  While my opinion of Thunderbolt Ross’ intelligence is not high, I think that he may have figured that Steve would be resistant to registration.  In fact, he probably wanted him to resist it – more on that in a minute.

Sam probably got lumped in with Rhodey in Ross’ calculations.  As a former soldier, Ross might have thought that Sam would roll over to the Accords when they were presented to him as an order, too.  However, in light of his aiding Cap in the previously mentioned war between SHIELD and HYDRA, Ross may have surmised that the Falcon would again side with Steve Rogers.

Either way, the team is divided about what to do with the Accords after Ross leaves, just as he wanted.  The seeds of Chaos are sown.  And they bear fruit sooner than Ross could have hoped when Zemo bombs the United Nations building in Vienna, Austria, and frames Bucky Barnes for the deed.

But we do not see Ross again until Berlin, after Cap, Sam, and Bucky have flown the coop.  As he berates Tony and Widow, Ross lets a very important fact slip out.  I had to watch the film again carefully to really take notice of the trip:  Ross said that if Cap had not interfered in Bucharest, Bucky “would have been eliminated.”  This means that the intent of the people in charge was never to capture and incarcerate Bucky.

Sharon Carter’s statement that the Task Force had been given shoot-on-sight orders is one thing.  Up against a super soldier with a metal arm, most normal humans do not stand a chance.  Giving them permission to shoot-on-sight hopefully will preserve their safety.

But sending in a military chopper with a mini-gun to shoot up a city block in order to bring down the Winter Soldier is way too much.  This all adds up to a very frightening fact:  Ross and his bosses wanted Bucky dead from the beginning.  It was never about capturing, containing, or imprisoning the Winter Soldier.  It was never about finding justice for those killed in the bombing of the Accords in Vienna.

Image result for civil war buckyIt was about murdering Bucky.  Not killing him in self-defense, not killing him to protect the public, but to murder him on account of a crime he had not been definitively proved to have committed.  He was presumed guilty, not innocent, based on his past record and not on any new evidence.  The evidence the Task Force, CIA, and Ross did possess was circumstantial, bordering on coincidental.  But they ran with it anyway.

Ross and the U.N. never questioned ANYTHING about the circumstances of the bombing. They planned to kill Bucky as soon as they knew where he was.  The bombing simply gave them an excuse to feed the public and to avoid answering awkward questions about what they were doing.

If that does not chill you to the bone, readers, then nothing will.

In light of this fact, how does Tony’s prior statement to Cap about Bucky being transferred to an American “psych-center” hold water?  Tony believed what he said, I am sure, and Cap bought the idea until he found out about Wanda’s incarceration in the Avengers’ Compound.  In light of Ross’ statement that the initiative was to kill Bucky from the beginning, though, I find any suggestion of his transfer to an American psychiatric hospital highly suspect.  What was to prevent the men transporting him from killing Bucky in transit, and then claiming afterward that he “…broke his restraints and attacked/killed some of our men, so we had to kill him”?

The answer is:  nothing.   They could have done this easily – governments around the world have done this numerous times, without serious difficulty, to people they wanted silenced and out of the way.  If Cap had not “interfered” in Bucharest, then Bucky would have ended up dead at the governments’ collective hand.

Another thing to note is that, in this interview, Ross again plays the guilt card.  Immediately after mentioning that Bucky would have been “eliminated” in Bucharest, he rubs the fact that the Winter Soldier killed several Germans before he escaped in Tony’s face.

What he neglects to point out is that parties unknown set off the EMP bomb which knocked out the cameras and electronics for the base.  Therefore, no one but Cap, Sam, and the psychiatrist know what really happened while the lights were out.   Another thing which Ross does not mention in his little tirade here is the fact that the psychiatrist the Task Force called in is not among the dead – and he sure as hell was not walking around the base!

Image result for thunderbolt ross civil warWhy did Ross leave these details out, hmm?  Did he believe that Tony and Natasha did not deserve to know these things, or that they did not need to know them?  If I had to bet, it was the latter.  Ross left these facts out intentionally, just as he “failed” to bring up Pietro’s death in Sokovia: these specifics did not serve his and his masters’ agenda.

This is why Cap would not condone or sign the Accords.  In this film, Ross proves that he is no better than Nick Fury.  Actually, he proves that he is worse.  Fury may use any means necessary to get the job done, but he has never guilt-tripped any of the Avengers into fighting a battle or cleaning up one of his messes to the extent that Ross does in Civil War.  Ross does nothing in this film but bully and berate the Avengers who have signed the Accords into doing what he wants them to do, hounding them to do it his way, or they will be pushed aside.

The proof of this comes after Ross states that he will have to be the one to bring in Steve, Sam, and Bucky.  Natasha then asks him pointedly, “What happens when the shooting starts – are you going to kill Captain America?”

I can hear the “voices of moderation” chiding Ross right now:  “No way,” “Cap’s too important,” “He’s a national symbol; if you kill him no one will ever forgive you for it.”

But Ross dispels all of these valid arguments in one little sentence:  “If we’re provoked.”  To the masters behind the Accords and their deputies (Ross), even Cap is expendable.  Especially when he stands in their way, demonstrating by his actions that he knows they are tyrants – although they say otherwise – and that he is not going to bow to them today or at any time in the future.

This blatant threat sends Tony into panic mode, and he “wins” a thirty-six hour deadline from Ross to bring Cap, Falcon, and Bucky in alive.  He never stops to think that, if Ross and the U.N. consider Cap disposable, then he is no safer than Steve despite the fact that he signed the Accords.  It never occurs to him because his ego is too damn big.  Tony believes he is indispensable, and he is right, from our perspective and that of the Avengers.  Every human life is far more important than we can truly apprehend, as the Avengers (including Tony) know for a fact.

Ross and his puppet masters, however, have a very different, very selfish view of the lives of others: Tony and the Avengers who have signed the Accords are only important as long as they toe the government’s established line.  Once they step out of line, as the anti-Accords Avengers have, then they become threats which have to be eliminated.  Just like Bucky, they can be killed out of hand any time it becomes convenient.

We are going to detour here to look at the airport battle in Germany.  It is an amazing fight, from a visual standpoint.  Everything from Hawkeye’s newest arrows to Ant-Man’s growth to Giant-Man, from Panther’s fighting skills to Spider-Man’s first appearance in the Marvel Cinematic Universe, is visually spectacular.  We could watch that battle time and again, and still we would notice things we had missed before.

But for the moment, let’s step back from the battle and watch it from Ross’ position.  To us, while visually stunning, the battle is also heart wrenching.  Aside from Ant-Man, Black Panther, Spider-Man, and to an extent Bucky, all the people involved in this fight are friends with each other.  We have traveled with these characters for years and know that they care about each other.  Now we are watching them fight, not in a friendly way but in an angry, dangerous manner.  Team Cap, though they fight hard, are not fighting with the intent to maim and kill.  Team Iron is at least willing to maim, if not kill, and that makes the battle all the harder to watch.

But from Ross’ perspective, this is exactly what he desired.  The Avengers on Team Iron have given him precisely what he wanted: another battle which he can use against them, more damage he can exploit to control them.  He has to be enjoying every minute of this as only an enemy can.

Because, readers, who benefits from this battle?  Does Team Cap?  Bucky and Steve grab the Aveng-jet and run, but the rest of their team gets locked up in the Raft to rot.  Does Team Iron benefit?  They help lock up their own teammates in a maximum security prison built for the worst kind of criminals, Rhodey ends up with severe damage to his spine, and the strength of the Avengers’ team is more than halved.  Everyone but Rhodey and perhaps Vision abandons Tony by the end of the film.  Natasha walks out on him, T’Challa leaves, everyone on Team Cap is off the grid and on the run, and Spider-Man is back in NYC doing his own thing.  How does this help Team Iron?  At least Team Cap is still together – and they have gained a couple of new members in the process: T’Challa and possibly Black Widow.

The only people who benefit directly from the Avengers’ battle at the airport are Ross and the pencil pushers in the U.N.  How do I know this?  Tony shows up at the Raft after the fight to see Sam and tell Ross about Zemo, only to be informed that he is grounded until further notice.  Ross explains that the mission is “out of [Tony’s] hands” after the “stunt” he pulled in the Leipzig airport.  Notice, Ross never says, “We’ll take it from here” or the equivalent thereof.  He just says the issue is no longer Tony’s concern.  And he is using the airport battle – which he orchestrated – as a reason to push Tony away from the search.

Then he lets Tony into the command center for the prison, where Iron Man sees Wanda on a monitor.  She is huddled up in her cell, wearing a straight jacket and an inhibitor collar.  Presumably she is just cold and lonely, but how do we know the guards did not “have a little fun” with her before they snapped that straight jacket on her, huh?  When was the last time she ate or had anything to drink?  Does Ross have the environmental controls in her cell set to a comfortable level?  It did not look like it to me.  The guys were not shivering; they looked to be at least warm, if not fed.  Wanda did not look like she was warm; she looked dangerously close to contracting pneumonia!

Speaking of the guys, what does Ross do when Tony goes in to see Sam and Clint gives him a piece of his mind?

Related imageRoss smiles.  It is not a big smile, but it is there.  I saw it both times I went to the theaters to watch the film, but it is harder to see on the smaller screen.  Ross smiles because he has exactly what he wanted; the Avengers are divided, the team members who refused to sign up to be his puppets are incarcerated, and he has all the ammunition he needs to keep Tony in line.  If Tony starts “misbehaving,” all Ross has to do to keep him obedient is threaten to hurt the incarcerated Avengers – or suggest that he will throw Tony in with them.  Just like that, Stark will roll over and play dead for him.  He plans to “break” Tony’s “back” at the first opportunity.

Still think the Accords are a good idea?  Still think Ross is not a villain?  He is, and he is just as bad as, if not worse than, Loki.  Both Ross and Loki are control freaks.  Loki wants to control people so that he can be lauded and adored for the rest of his life, because he felt he was in Thor’s shadow while they were growing up.  That is what makes him a full-tilt diva who “….wants flowers [and] parades” in his own honor.

Ross has a different aim in mind.  He does not want adulation and veneration.  He wants control for its own sake.  Remember how, in the comics, Ross was always berating and yelling at Bruce Banner?  Why do you think he did that – not just to Bruce but to everyone else around him, including his own daughter?

Ross is obsessed with having power over others because he is a small man with a small mind, who wants to be an important man in a big world.  He is a tyrant.  How does someone small become someone big?  Well, foregoing the gamma ray method, there are several options.  Most of them are highly unpleasant and end right where Ross is:  the small man gets his hands on the levers of power, where he gleefully begins to make everyone else’s lives miserable so that he can prove he is in charge.

Fury never went this far.  I do not like him especially, but the fact is that Fury worked his way up the ranks to Director of SHIELD because he saw the threats multiplying like mosquitoes and knew that, at the bottom of the ladder, he could never protect as many people as he needed.  Ross does not care about the threats facing humanity, the world, or the United States.  Not like Fury does.  At best, Ross considers these dangers minor worries.  Most of his attention is centered squarely on his own navel.

This is what drives everyone away from him: the U.S. soldiers he commanded in the army, Bruce, and most importantly, Betty.  Why did Betty never get along with her father?  Why did she leave him?  She left him because he did not care enough about her to sacrifice his own ambitions and desires for her happiness.  Ross always blamed the Hulk for taking Betty from him, but who is responsible for the Hulk’s creation?  Yes, Bruce might eventually have become the Hulk even without Ross breathing down his neck.  But it was Ross’ constant push for him to hurry up which made Bruce try the gamma experiment too early.  It was Ross who determined that the Hulk and Bruce Banner were monsters who were unworthy of saving, and that they were better off as his personal cannon fodder.

This is what drove Betty away.  Ross’ single-minded pursuit of his own agendas left no room for her, and after a while, she got tired of trying to insert herself into his life.  All he did when she managed that was push her out again.  Bruce always made time for her; he always put her ahead of his own wants and needs, to the point that he left her to protect her.  Is it any wonder that she preferred him to her father?

Ross can play the guilt card on Tony and Natasha so effectively because his own hubris has anesthetized him to any sense of personal guilt.  Despite this, he knows when other people are feeling guilty and how to use that guilt to get what he wants.  He drove his own daughter away from him, although he will stridently state that it was Banner who took Betty from him.  While he knows, deep down inside, that the reason Betty left is his fault, he has moved beyond the realm of caring.  He is no longer man enough to admit that he did wrong by his daughter and has given up any idea of trying, as far as he is able, to repair the damage he did to their relationship.  He is a self-righteous, self-absorbed coward who has become numb to the love of God and man alike, just as all the other narcissistic bullies in the world have before him.

Tony should have known this.  He should have known what Ross was like from Bruce, or at least from reading the file on Bruce’s life.  But either he did not know, or he decided not to hold Ross’ past against him.  Big mistake, because Ross is still carrying that past on his back and committing the same sins of pride he has been for years.  The guy will not learn.  If Betty could not teach him, then it does not look like anything short of a miracle will.  The heart attack he had was not enough to qualify; it is going to have to be something bigger.

Thanos knocking on the front door might work, but we will have to wait and see about that.

The last time Ross is present in Civil War, he is just a voice over the phone.  He is calling Tony about a break in at the Raft, where Tony’s anti-Accords teammates are being held.  Before Ross can spit out more than one sentence, Tony puts him on hold.  Tony knows who has gone to get Wanda, Clint, Sam, and Scott out of prison.  And while he probably still has some anger issues to work out with Cap (not to mention some maturity issues to work out with himself), he does not want their mutual friends to remain confined.  So he lets Ross scramble to find a way of stopping Cap himself.

It does not take a professional gambler to tell you that the odds of Ross arriving at the Raft in time to see the con-trail from Cap’s jet are low to nil.  The Avengers are going to have some teamwork bugs to work out in Infinity War, and Tony is going to have to make some very big mea culpas.  But Cap has forgiven Tony for his performance in the Russian HYDRA base – his sending the letter and the phone to Tony is proof positive of this.  It is Tony who has to learn how to forgive here.

The big point for Ross in this scene is that his schemes are starting to unravel.  We do not know what Tony told him about the battle in the HYDRA base; either Ross knows most of the details or he knows nothing about it.  Whichever is true, the important item here is that he has lost four of his bargaining chips with Tony.  Team Cap is free and on the lam, so Ross cannot hold Clint, Wanda, Sam, and Scott’s health and safety over Tony’s head to make him behave.  What is more, with Team Cap free, Ross has five rather angry people who want him tossed out of office roaming the world.

I hope that is helping him to sleep easier.  😉

Another significant thing to note about Tony’s putting Ross on hold is that it shows Tony is reverting to his previous stance.  We all know Stark does not want anyone to be his “director.”  He resented Fury whenever the SHIELD leader would yank his chain, and Fury actually cares about him, just like he cares about all of his people to some degree.  That is the difference between him and Ross; Fury still possesses a certain amount of empathy and understanding for other people.  Ross does not, and so he is yanking Tony’s leash a whole lot harder than Fury ever would.  That is a mistake which the notoriously thoughtless Thunderbolt Ross may soon come to regret.

Some of you probably still entertain the idea that Ross is not a villain.  Well, that is simply not true.  Ross is a villain, plain and pure. While he may not seem to be a villain of quite the same caliber as Zemo, it is only because there are certain lines which he has not yet crossed.  I cannot say that he will never cross them – his statement that he would kill Cap and not lose sleep over it suggests he is fairly willing to burn such bridges as Zemo has.  Whether or not that will happen, though, is something we will have to watch for.  Ross is not a man to turn your back on, period.  He is a sour-tempered cur, but that does not make him any less dangerous.  If anything, it makes him more so.

Well, readers, that concludes this character post from Captain America: Civil War.  Stay tuned for more posts coming out as time goes by!

Avengers Assemble!

The Mithril Guardian

 

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A Review of Avengers Assemble’s “Inhumans Among Us”

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I have said many times that I do not enjoy the X-Men movies currently being produced by Fox Studios.  The films are focused mostly on special effects, noir themes, and have too little hopefulness in them.  The characters – aside from Wolverine and a fortunate few others – receive very scattered, haphazard treatments which do not help them grow and which do not exercise their individuality to the full.  I am continually bewildered by reviewers who proclaim that the latest X-Man film is a hit.  The X-Men franchise is barely treading water compared to the Avengers’ franchise, from the numbers I remember having seen.

What does this have to do with the Avengers Assemble episode “Inhumans Among Us”?  In this show, Blackbolt and the Inhuman royal family of Attilan descend on a town which has been doused in contaminated Terrigen Mist.  This results in a human from the town, who has Inhuman heritage, undergoing Terrigenisis – the process by which Inhumans gain their superpowers.

For those who do not know about the X-Men or the Inhumans, the two have their similarities and their differences.  Marvel’s X-Men are a superhero team composed of mutants.  In the Marvel Universe(s), mutants are humans born with an advanced X-gene.  This gene usually activates in the mutant’s teen years, giving them access to superpowers built into their DNA.  This occasionally leads to their transforming in appearance physically to resemble an animal or to appear non-human in some other manner.  Some mutants can use their powers or look different from birth, but most discover their abilities when they become teenagers.

Inhumans are only slightly different.  Descended from humans who were experimented on by the alien Kree millennia in the past, Inhumans are also born with superpowers programmed into their DNA due to Kree meddling all those years ago.  Which type of superpowers they will have is unknown to Inhumans initially.  Also, it does not seem that a certain power, such as hydrokinesis or super strength, is passed down from Inhuman to Inhuman through direct inheritance.  For instance, an Inhuman man who is a telepath can marry an Inhuman woman who is an empath, but their child will somehow end up with superhuman strength instead of either of his parents’ powers.

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Inhumans can live normal lives without their powers.  They will have above average strength, immunity, and longevity, but they will not manifest superpowers.  Their powers will be activated only through exposure to the Terrigen Mists, a gaseous cloud released by Terrigen Crystals taken from the Kree.

Terrigen Mist will not hurt normal humans.  But if a normal human so much as brushes up against a Terrigen Crystal without some sort of protection, it has an immediate and deadly effect on them.  The Terrigen Mist permeating the town in “Inhumans Among Us” thus does not harm Cap, Thor, Iron Man, Falcon, or the Hulk.  Admittedly, only Falcon and Cap would have had to worry.  Hulk is protected by his Gamma radiation, Tony by his armor, and Thor is Asgardian. Thus the Prince of Thunder is immune to so much as the common Earth cold.  Terrigen Crystals would be among the least likely things to harm him.

This episode serves as the Avengers’ first meeting with the Inhumans in Assemble.  Prior to this, only the Hulk had had contact with the Inhumans in the episode “Inhuman Nature,” a show from his own two season series Hulk and the Agents of S.M.A.S.H.  Thor may have known of the Inhumans prior to this Avengers episode.  But if that is so he had not met them more than once or twice.  And in those cases he may have been on diplomatic missions to Attilan, or they might have been visiting Asgard for political reasons.

When the Avengers and the royal family discover a strange cocoon in the town library, the team fears the thing may be the result of a deadly virus capable of wiping out innumerable people.  But when the Inhumans recognize it and try to politely force the team out of the conversation – as well as the library – the Avengers realize that whatever the cocoon is, the royal family knows it is not dangerous.  And, what is more, they certainly do not want the Avengers finding out what it is.

But when Tony tells Blackbolt – rather politely, all things considered – that the Avengers are not going anywhere without answers, the alliance the two factions formed at the beginning of the episode disintegrates.  Gorgon responds to Tony’s statement by throwing him through the walls, across the street, and into the next building.  Then the rest of the royal family attacks the bewildered Avengers in order to “protect” the cocoon.

“Inhumans Among Us” was a very disheartening episode for me.  Why?  The Avengers went out of their way to be friendly and helpful to the Inhuman royal family.  They had no intention of hurting them, and once they knew that the cocoon was for a newly awakened Inhuman, they were ready to help Blackbolt and the others calm him down.  In contrast, the Inhumans looked xenophobic and intolerant, displaying violently the prejudices which they claimed the Avengers were demonstrating.

This is my key disappointment not only with the episode, but with the general trend in all things X-Men, Inhuman, and now most of Marvel.  The writers are devoting too much energy trying to make everyone in every demographic feel included.  The problem with this is that when you try to please everyone, you please no one.  Stressing differences between people instead of similarities fractures the very unity which you are trying to build.

The X-Men at the end of Marvel's X-Men: Evolution

The X-Men at the end of Marvel’s X-Men: Evolution

In the comics written from the turn of the century to 2015, all the X-Men did was whine about the fact that normal humans would never accept them.  They became so fixated on this that the team split in half; then one half went to war with the Avengers.  The royal family in “Inhumans Among Us” showed the same blasted tendency, leaping to the conclusion that since the Avengers had no idea what the cocoon was and feared it might be an infection, they would react with extreme intolerance against it.

Instead of doing the sensible thing, which was to explain what the cocoon was, the Inhumans went berserk and wrecked half a town attacking the Avengers – all without provocation.  It was suspicion and fear which motivated the Inhumans.  The Avengers were left trying to pierce that fog with clear reasoning; but reason makes no headway against deeply entrenched unreason.  Hence the destruction of half of a small town within the episode.

The Inhumans also assumed that since the person inside the cocoon was an Inhuman by inheritance, they alone would automatically be able to calm him down and get him to see sense.  They forgot that they had voluntarily cut themselves off from humans for so long that most people in the Marvel Universe(s) have no idea who or what they are.  What if the new Inhuman came out and, added to his confusion over his new powers, was confronted with people he had no idea he could trust?  What if, due to his confusion and fear of his unknown “rescuers,” he attacked them – his supposed “kind” – maybe even killing one or two of them in the process?

Even though they do not seek it, the Avengers are world famous.  They are easily recognized by anyone who has not been living without a television, radio, or the Internet.  Even the denizens of small towns know of and instantly recognize them.

In such a situation as exhibited in “Inhumans Among Us,” this would make the Avengers invaluable in helping to calm down a new Inhuman who had never known he was anything but human.  If the royal family had been thinking, not reacting, they might have realized the team would be an asset in this circumstance and not a threat or a hindrance.

But the writers ignored that possibility completely.  Why?  Why would they have the Inhumans jump to the conclusion of discrimination and fear?  Why would they write a story where the Avengers could be construed as aggressors instead of as calm, reasonable people?  (Interestingly, the episode portrayed them in this positive light instead of the intended negative view.)

The Avengers have accepted mutants, humans, Inhumans, aliens, androids, and at least one synthetic being as members throughout their history.  They do not care about a teammate’s skin color, gender, or what-have-you; they care about the person who wants to use their skills to help defend the world.  This is a proven track record that goes back to the time when Quicksilver and the Scarlet Witch, Gypsies and former enemies of the X-Men, were given membership on the team.  It goes back to Black Panther’s acceptance by the team.  Falcon’s membership in the team was accepted with facility as well, despite the government’s interference in the matter.  The Avengers are not a passel of small-minded bigots.  They never have been.

Yet recently there is a documentable effort to push them into this position.  While the team has never been anything short of hospitable to every proven hero, reformed convict, or good android, the Avengers keep getting thrown into conflict with people who claim they are not what they have shown themselves to be time and time again.  And these people, often allies of the Avengers, should know better than to claim this insanity.

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In recent comics, the X-Men are the guiltiest party.  Accustomed to being discriminated against, they had previously battled the Avengers several times, until someone calmed down enough to listen to the Avengers explain why they showed up.  This once led to reconciliation after reconciliation between the teams, something which was tossed out after the Avengers vs. X-Men event.  In an attempt to heal that mess, Cap started the Unity Squad, a team which was composed of Avengers and X-Men.  He hoped to bring the two factions together through this new team.

But his plan was in many respects an unmitigated disaster, as the X-Men refused to see eye-to-eye with their new teammates, particularly the Scarlet Witch.  Yeah, yeah, yeah, she wiped out most mutants’ powers earlier in the decade after going nuts and getting mad at Magneto.  How many times have members of the X-Men – not to mention mutants in general – wanted to be rid of their powers?  Besides which, by the end of A vs. X, the mutant population had been restored.  There was no reason to keep picking on Wanda – no reason except to spite her, Cap, and their Unity Squad teammates from the Avengers.  Who wants to put up with all of that negativity?  Not me, thank you.

Once upon a time, the X-Men were allowed to make friends with non-mutants in a TV series.  The 1990s series saw the team become friends with Senator – later President – Kelly.  A mutant-hating politician who came to recognize the humanity of mutants through the aid of the X-Men, he became one of their best supporters and friends.  Beast made friends with a human scientist in X-Men: Evolution, the same series where Nightcrawler had a normal human as a girlfriend.  And the number of normal humans the X-Men befriended in the comics is so long I would have to look it up to make a comprehensive list!

But by the time Wolverine and the X-Men TV series aired, this arrangement had largely been flushed down the toilet.  The episodes that came closest to making the point that humans and mutants were different in terms of genetics only were the introductory shows and “Code of Conduct.”  In that episode, Wolverine had to fight the Silver Samurai, who was married to his old flame Mariko Yashida, a normal human woman from Japan.  The rest of the series focused on the war brewing between mutants and humans because of the latter’s’ hatred for the former.  And the X-Men were bent on avoiding a blasted apocalyptic future where all but a few humans and mutants had been killed by the Sentinels.

Did the writers ever consider that by befriending normal humans the X-Men could make greater headway in circumventing this future?  No, they did not.  It was all X-Men vs. Brotherhood, X-Men vs. the MRD, or X-Men vs. Magneto and his Acolytes.  Let’s just lie down and die already, huh?

This different approach had started out in the comics, which began tearing the X-Men away from Professor X’s original dream of peaceful mutant/human coexistence.  It is as though, having reached a post-mutant-hating era, the writers decided to tear down all their good work and reset the original status quo.

But how exactly is this a good thing?  If you are so determined to build a platform of peaceful coexistence, why suddenly turn around and destroy it once it is built?  What can you possibly gain by this?

I once suggested an answer:  if everyone in the Marvel Universe became a mutant overnight, then the X-Men’s use as a team fighting for equality for mutants would go up in smoke.  Likewise, if you wipe out all mutants (an impossible task even for the Scarlet Witch), their reason for existence also disappears.  It seems that the Marvel writers, whether they realize it or not, are carrying out the second possibility – with unprecedented vigor.

In so doing they have neglected the third potential avenue for the team: could the X-Men not change their mission from peaceful coexistence to protecting the Earth, just as the Avengers do?  They have powers, gifts above the norm.  The achievement of one dream does not mean that you get to sit on your laurels or break off to follow your own pursuits.  It certainly does not mean you get to destroy your hard work.  It means you go out and get a new, better dream.

The imprisonment, death, or changed hearts of the X-Men’s old enemies does not mean they will never have new ones.  If the bigots who hate mutants are reduced, as had been suggested in comics in the early 2000s, to a minority, then that frees the team to fight on a wider field and for an even higher cause:  the protection of the two races from unsavory characters on Earth or in the galaxy.

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The Inhumans have suffered in a similar way.  Having existed as a race for millennia, they retreated from humanity to avoid persecution.  Living in hidden cities, they created their own culture, form of writing, and technology.  However, having made contact with humanity again, they continue to react intolerantly against normal humans first in an attempt to protect themselves.

How is this sensible?  How is this a “more highly evolved” attitude than that of normal humans?  If anything this reaction proves that you can build superhuman powers into humanity, but you cannot change human nature, no matter how hard you try.

Both of these teams have fallen into the bigoted tendencies that they either once fought against or retreated from facing.  Once the receivers – or potential receivers – of these attitudes, they are not willing to give rational normal humans the benefit of the doubt.  They instead react prejudicially toward them.

This is what saddens me the most about “Inhumans Among Us.”  Marvel, just like most other media institutions and academia, cannot let go of these hatreds.  Once seeking to fight against them, they have now become their biggest propagators.  They claim they are still combating intolerance when in fact they have embraced it.

This is the main reason I lost interest in the X-Men and never had much interest in the Inhumans.  If they are not willing to let go of past hurts and fears, then they will eventually become the new aggressors, the new bigots, the new haters.  Their writers have already fallen prey to this mentality, all the while thinking that they are helping to eradicate it in others.  They are not.  They are further dividing their audience, having succumbed to their own preconceptions of what is tolerant and intolerant.

This is a hard truth to speak, readers.  It is an even harder truth to hear.  We all like to think we are good people.  Only the most vile are exempt from this.  Everyone else thinks that because they have good intentions they are in fact good people.

But good intentions accomplished through bad means end up being evil deeds.  A lot of the people who supported the Nazi Party had good intentions.  They wanted their country to be strong again, they wanted their currency to be worth something, and they wanted their national and cultural identity to be respected.  But how many people – Jews, Catholics, Gypsies, and others – paid the price for those good things to “come about”?  How many died because the Russians who supported the Soviet system envisioned by Lenin and implemented by Stalin “just” wanted to make the lives of their fellows better?  And how many good-intentioned people ended up losing their heads under Madame Guillotine’s “gentle” administrations during the French Revolution?

The answer to these questions is:  too many.  Are we to repeat these well-intentioned people’s mistakes?  Mistakes are to be learned from but, if you learn the wrong lesson, you end up with the same result.  You just get there by a different path.

We learned the wrong lesson.  And we are beginning to pay the price.  If we do not stop and ask ourselves, honestly and without fear, what we are actually doing wrong…. then we will end up in the same place and in the same hellish circumstances.  And it will have happened all for the sake of “good intentions.”

The truth is all we need seek when we ask these questions, for the truth and The Truth are all that will set us free.  Everything else are traps and darkness, for the soul if not the body.   One is more precious than the other and needs greater care because of that.

Look for the truth, readers, and do not stop until you find it.  It is the only thing worth finding, the only thing worth living for…

And the only thing worth dying for.

The Mithril Guardian

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A Review of Avengers Assemble’s “Captain Marvel”

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It is no secret how this blogger regards Carol Danvers.  I prefer to ignore her existence entirely as a general rule, being particularly insulting when I do mention her.  But there are certain times when this character must be acknowledged and mentioned, or even discussed at length.  Having seen the Avengers Assemble episode “Captain Marvel,” it seems that this is one of those times.  I have largely left my disparaging comments at the door.  This is an entirely different kind of post from previous articles.

One of the men who helped to create the Carol Danvers solo series reportedly stated that a reader of the comics, “…might see a parallel between her [Carol Danvers’] quest for identity, and the modern woman’s quest for raised consciousness, for self-liberation, for identity.” (Did anyone else miss the point of that convoluted quote?  I did.)

This description by writer Gerry Conway opens a window into Danvers’ role in the Marvel Universe(s).   From his suggestion it is possible to see that Carol Danvers is intended to be the Feminist epitome:  she is stronger than most of her male compatriots, faster than them, she shoots energy beams from her hands, and she is nigh indestructible.  Feminism’s consistent cry that, “Women are just as good as men,” is perfectly played out in Danvers’ character.

However, the results are far from flattering for women.  Captain Marvel’s most endearing quality is her superpowers; in creating the Uber Woman, Marvel missed the mark by a good many miles.

This is something which Marvel Comics seems to have tacitly recognized, although they have not admitted it aloud in interviews or writing.  Instead they told us in the early 2000s that they were “determined to have the character take center stage in the Marvel Universe.”  Apparently they have chosen to use this time to do this.  They have changed her codename to Captain Marvel, given her a new suit, and a new personality in order to make her a more central character in their universe(s).

But so far these changes have not made Danvers any more important to the brand than she has been for the last five and a half decades.  It is also worth noting that Marvel has tried relabeling the character in the past.  Carol Danvers has worn two other alternate codenames since she debuted as Ms. Marvel; these were the monikers Binary and Warbird.  Neither of these names lasted very long – the writers inevitably ended up falling back on her original codename after trying to make her new guises “stick.”

Why did they have to return to her original name?  Marvel Comics has never definitively stated any reason why, to the best of this writer’s knowledge.  But if I had to guess, it was because her new names were unable to generate an appropriately large and suitably well-paying fan base.

If at first you don’t succeed, however, try, try again.  Marvel is attempting the same rebranding trick now.  This time, though, they have gone a step further by overhauling Danvers’ personality.  Previously Danvers simply changed suits and codenames, while her personality remained intact.  But if the Avengers Assemble episode “Captain Marvel” is any indication, her new characterization is no more helpful than her previous deportment.  If anything, it is far more exasperating.

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Instead of continuing in her former mild-mannered, polite aspect, Danvers’ debut episode within the Assemble universe shows her rudely cutting across the male Avengers’ courteous pleasantries and interrupting their valid questions or comments.  But the most aggravating of all is her continuous, offhand dismissals of the men’s warnings and help during combat.  Her attitude, once about as offensive as a pebble’s, has been altered so that she is snobby, arrogant, and Matronizing.  Where she once could not be heard for being polite, now she cannot say “Hello” without it sounding derogatory.

This is not a winning portrayal for the character, and it only gets worse as the episode progresses.  During the show Danvers repeatedly mocks the male Avengers when they extend their assistance and friendship.  She scoffs at their suggestions that she may need their help in the present or in the future.  She also scathingly refuses their offer of a place on the team – which she eventually receives anyway.  Danvers looks down on all the men on the team during the episode.  Yet this should be hard to do if she is supposed to be as good as they are, shouldn’t it?  If they are on the same level, she cannot look down on them.  She has to look them in the eyes.

This does not occur within the show at all.

As for Danvers’ hypothetical “friendships” with the male Avengers, those appear to be non-existent by all but the most desperate measurements.  The most frustrating of these “amities” within the episode is the supposed Air Force/Army rivalry she shares with Cap.  It is true that the U.S. Army and the U.S. Air Force have something of an affable rivalry.  So do the U.S. Navy and the U.S. Marine Corps.  But this theoretical source of contention between Danvers and Cap within the episode is nothing less than a thinly veiled attempt to make Captain Marvel look good, while at the same time putting Steve Rogers in her shadow.

What happens, entertainingly, is the reverse.  As he does in most cases, during the show Cap stands above Danvers without half trying.  Cap demonstrates his usual magnanimity, courtesy, and the benefits of his experience during the show.  And he does this with his usual just-a-kid-from-Brooklyn charm.  Danvers on the other hand suffers in this “rivalry.”  She comes across as a small-minded, bigoted, and egotistical fool.  She disdains Cap’s assistance, his generosity, and the benefits of his experience.

This is not a way for ANY character, new or old, to make a good impression on viewers.  It is the best way to lower the audience’s opinion of her.

Falcon is similarly discriminated against by Danvers in her dialogue with him.  Left to fawn over Danvers as if she is a great heroine whom he has always wanted to meet, Sam receives no real reply for his manly deference.  In answer to his admiration Danvers persistently sidelines him in conversation and belittles his ability in combat – until Sam’s considerable technological and flying skills are needed to help save the day.  Then she is all praise and pats on the back.

Sam Wilson deserves better than that, people.  He has earned better.

Thor is also left to play the stereotype.  Thor is made to look like a callow buffoon during the adventure; throughout the show he is clearly supposed to represent the man who is emblematic of the “modern Neanderthal” who would rather smash things than think.  This “requires” Captain Marvel to “rein him in” on several occasions.  She literally grabs hold of his arms in one instance, which is utterly infuriating.  Why?

The Prince of Thunder is entirely capable of thinking, being particularly clever in his own right.  While Thor may prefer banging down the front door to picking the lock on the back entrance, the fact is that he is adaptable to the situation at hand.  To portray him as a backward, muscle-bound rube demeans not only the character but his audience.

We are not amused.

But what stood out to me the most when I was reflecting on this episode is the fact that Danvers and the Black Widow never exchange pleasantries, let alone dialogue, within this show.  Unlike most of the guys, Natasha does not bother to try and interrupt Danvers while she brags about saving the team from being “exploded.”  Most important to note, she also does not join in the other woman’s steady verbal abuse of the men.

I believe that this is something the writers overlooked, and that in future episodes they will try to rectify what I have pointed out.  However, I also believe that there can be no commiseration between these two female characters over the “vanity” of men.  There are two reasons for this.  First, Natasha was conceived as a genuine female character and legitimate heroine from the start.  She was not created as a bone to be tossed to the Femi-Nazis.  Having clawed her way up and out of that mentality when she defected from the Soviet Union, Natasha is determined not to fall back into such a trap.

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Second, while Captain Marvel now bashes the guys simply for being men, Natasha respects and appreciates her male teammates much as she always has.  She recognizes the value of her male friends not only for what they can do, but for who they are as men.  For instance, their manhood is what makes them naturally concerned for her welfare because she is a woman.  Even when she is in a situation which she can handle (or believes she can handle) herself, they do not leave their natural male concern for her at the door.

Natasha does not scorn this concern from her male teammates, as Danvers does.  Rather, she welcomes it.  Yes, it can irritate Natasha if the guys are not quite quick enough to figure out her plan and they begin to question her, fearing that she is preparing to do something rash or particularly dangerous.  But if she does end up in over her head, then she knows they have her back, even when she thinks she does not need them there.  The male Avengers’ evident desire to keep her safe does not enslave the Black Widow.  It frees her.  Natasha knows her male friends have her best interests at heart.  They do not want to exploit her, they want to protect her and be there for her.

Why am I so certain of this?  How can I be sure that the writers not only overlooked writing dialogue for Natasha and Danvers but that, if they tried to do it so that the two agreed on the “ineptitude” of men, such a discourse would ring false?

I can be sure of this fact because the Black Widow has been exploited by men in the past.  She was subjugated from her earliest years by the men (and the women) who created and maintained the Soviets’ Red Room program.  She was an expendable tool to them.  This resulted not in self-liberation for her but in a non-existent childhood, during which she was expected to behave and function as an adult.  This was then followed by an early adulthood completely devoid of compassion, friendship, happiness, and respect.  The men in charge of the Red Room did not value Natasha – they used, manipulated, and abused her.  And while they did this they considered her to be “just as good as a man” at her job.

We know how Natasha feels about this.  She regrets her past sins while under the Soviets’ control, and she was so determined that they would never get the chance to mistreat women again that she shut down the original Red Room program, presumably with extreme prejudice.  In the episode “Seeing Double,” the writers established 2R – the rebuilt Red Room program – in the Assemble universe.  Natasha’s first round against Widow wannabe Yelena Belova showed that she desires to end this new program of enslavement in the Soviet mold, too.  Looking at her attitude in this case, how can we think that the Black Widow would turn around and support a twisted feminism which views women in the same unsavory light that the Soviets did?

The male Avengers, unlike her Soviet handlers, do not use, manipulate, or abuse Natasha.  Only the most confused would claim such lunacy.  Natasha is a member of the team by her own choice, and her male friends never ask her to take risks outside of her ken.  On the occasions the risks to her during a mission are considered too high by the men, she usually takes those on herself, always over their protests.  When this happens, she does not accuse them of believing that she cannot handle the crisis.  The Soviets, remember, considered her expendable.  The male Avengers do not.

If you contrast the Black Widow with Danvers, you will see just how boorish, petulant, and childish Captain Marvel’s new characterization is compared to Natasha Romanoff’s.  As an immediate example from the episode under discussion, Black Widow illustrates her high opinion of her male friends when she asks Hawkeye what happened on the mission in Helsinki that Danvers had mentioned.  His emphatic “Do not want to talk about it,” earns an affectionate smile from Natasha, not a scoff of irritation at his imaginary “manly stubbornness.”

Now weigh Natasha’s fond expression against Danvers’ sneering “You’re adorable” remark after Hawkeye saves her from a Kree drone missed in an earlier battle.  It puts everything in perspective and easily demonstrates which woman is the better heroine and person.  Danvers was in the process of asking for help from the Avengers when Hawkeye acted first and destroyed the drone.  He was kind enough to not only to save her from the device but to “spare” her the need to ask for aid, repaying her for her help in Helsinki.  And yet she responds by treating him as though he was a teenager showboating for the lady?  Which knucklehead wrote that brilliant little bit of dialogue?

In their attempt to make the Uber Woman when they revamped Danvers’ character, Marvel Comics has instead made an uber failure.  Carol Danvers is supposed to represent the 21st century woman?  I would rather be represented by a stray cat.  A female cat may be haughty, but at least she never pretends to be anything less than she actually is.

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“But, Mithril,” I hear some of you complain, “everybody says/knows Carol Danvers has been popular throughout her history!  You cannot help but admit that, even if you do not think she is particularly great!”

Okay, let us say for the sake of argument that Carol Danvers is, actually, as popular as Marvel Comics insists she is.  If this is so, then why have they changed her codename throughout her career?  Most heroes who have had many codenames over the course of their history have had to do this in order to find the one which “fits” them best.  It is a bit late in the game for Danvers to still be searching for the perfect moniker.  Her first codename worked just fine.  I know this because I cannot shake the habit of using it in verbal conversation.  I would use it in writing if it would not confuse the issue, but that is not possible since Kamala Khan started using the call sign Ms. Marvel.

And if Danvers is so popular, why did Marvel feel it necessary to say in the early 2000s that they planned to make her “take center stage in the Marvel Universe”?  If she has “always” been popular with the fans/readers, then they should not have had to do this.  They have not done it with the Wasp, the Invisible Woman, or the Scarlet Witch.  In fact, almost all of their other leading heroines’ monikers remained the same coming into the new millennium, and have remained unaltered.  Why does Carol Danvers need special attention if she has always been – and continues to be – so popular?

Why has Marvel given Danvers such a radical personality alteration?  Costumes come and go over the years, but personalities are seldom revamped in this manner.  If Carol Danvers is – and always has been – as popular as they claim, then why has Marvel Comics had to strive so hard over the course of her existence to make her impress their readers?  Why can she not stand on her own two feet, like all of Marvel’s other famous heroes and heroines have down through the decades?

The Avengers’ Mansion/Tower is popular as well, readers.  It is prominent in almost every comic because it is the team’s base/home, and plenty of stories begin or end there.  Stan Lee said that he used to run into people on Fifth Avenue who were looking for the Avengers’ Mansion.  It was popular enough to prompt people visiting New York City to go out and look for it.

Is it possible – just possible – that Carol Danvers has been “popular” for the same reason as the Avengers’ home?  After all, if the writers and artists place Danvers in every comic they can besides her own solo series, then they may rightfully claim that she is popular based on the fact that she is present in many of the books they are selling.  They do not have to sell record numbers of issues from her solo series for her to be popular.  They just have to sell comics where she is present in some manner to make her so.

The fact of the matter is that Carol Danvers is a token player.  And since token players have no real use or value to readers/viewers, they are almost impossible to keep afloat for as long as Marvel has managed to maintain Danvers’ existence.  This is a feat of determination which deserves applause as such.  But in terms of helping the company, it is just an attempt to maintain an idea which has proved to be more harmful than helpful.

Personally, I think the company would be better served focusing on the heroines they have who are actually emblematic of real women.  Because the character of Carol Danvers will ALWAYS be inferior to these other heroines, and no amount of cosmetic changes or personality alterations will amend that fact.  This is the truth, readers…

… whether Marvel Comics likes it or not.

Until next time,

The Mithril Guardian

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