Game Corner [National Superhero Day]: Marvel: Ultimate Alliance (Xbox 360)


In 1995, Marvel Comics created “National Superhero Day” and, in the process, provided comics and superhero fans the world over with a great excuse to celebrate their favourite characters and publications.


Released: 24 October 2006
Developer: Raven Software
Also Available For: Game Boy Advance, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation Portable (PSP), Xbox 360, Xbox One

The Background:
Perhaps few videogame publishers are as synonymous with Marvel Comics than Activision; the publisher has been spearheading adaptations of some of Marvel’s most popular properties since the year 2000. They weren’t all smash hits, of course, but some of their titles have been praised as among the best for characters like Peter Parker/Spider-Man and Marvel’s resident Mutant team, the X-Men. In 2004, the publisher teamed with developers Raven Software and saw big success with X-Men Legends, a team-based brawler that incorporated role-playing elements and simultaneous co-op gameplay. Following similar success with the sequel, Activision’s partnership with Raven Software expanded to incorporate much of the rest of Marvel’s line-up with this title, which was built on Vicarious Visions’ Alchemy engine. The game also greatly benefitted from utilising the Havok physics engine; in addition to including many of Marvel’s most popular characters alongside those added as downloadable content (DLC), Nintendo staples Link and Samus Aran were initially planned to be Wii-exclusive characters before being nixed. Marvel: Ultimate Alliance received generally favourable reviews; critics praised the game’s presentation and for improving and expanding upon its predecessors, and the game was successful enough to warrant an equally-successful sequel three years later and (eventually) a Nintendo Switch-exclusive third entry that received mixed reviews. Sadly, despite a remastered version being developed for PC, PlayStation 4, and Xbox One in 2016, Marvel: Ultimate Alliance is currently delisted from digital storefronts and quite difficult to come back for an affordable price as a result.

The Plot:
When Doctor Victor Von Doom and his Masters of Evil launch an attack against the Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.), Colonel Nick Fury sends out a distress call to all available superheroes for assistance. Steve Rogers/Captain America, Spider-Man, Thor Odinson, and Logan/Wolverine respond to the call and must soon join forces with a myriad of other Marvel heroes in order to put a stop to Dr. Doom after he attains incredible cosmic powers from Odin Allfather.

Gameplay:
Marvel: Ultimate Alliance is a top-down, team-based brawer peppered with some very light puzzle solving, opportunities for exploration, and role-playing mechanics. Players can (eventually) assemble a team of four from around thirty available superheroes and journey across a number of recognisable Marvel locations battling against the nigh-on endless minions of the Masters of Evil. Up to four players can play at once, though a single player is able to battle on alone, using the Left Trigger and directional pad (D-pad) to direct their computer-controlled team mates or switching to another superhero by pressing a corresponding direction on the D-pad. Players are given two primary attack options: A for a quick attack and B for a stronger attack, which can be charged up, and alternating between these commands will allow you to string together a few simple combos that will stun, trip, or blast your foe into the air, which can be essential to breaking through some enemy’s guards. X is the “action” button, allowing you to open doors, activate consoles, turn levers, or grab enemies to pummel, throw, or relieve them of their weapons, and Y allows you to swim and jump (you can also double jump, web-sling, or fly by double pressing and holding the button, respectively). Players can block incoming attacks by holding the Left Bumper or tap it to dodge out of the way entirely and each character has their own special abilities, which are accessed by holding the Right Trigger and selecting either A, B, X, or Y. Special powers can only be used if you have another energy, which is represented by glowing blue orbs dropped by enemies or uncovered from smashing crates or opening chests, and allow you to fire energy beams, toss projectiles, entrap enemies (by freezing or webbing them up, among other options), boost you (and your team mate’s) defense, attack, and other attributes, and cause status effects to your enemies like stunning, burning, or electrocuting them. While many of the effects are largely shared amongst the roster, each character pulls them off in their own unique way; Tony Stark/Iron Man’s Repulsor blasts are different from Mark Spector/Moon Knight’s projectiles, even though both can ricochet around the environment, and each character has a variety of special powers that you can power-up and assign to the face buttons from the “Hero Management” menu.

Assemble a team of four superheroes and battle the endless forces of the Masters of Evil.

Each character also has a big, character-specific attack that can be performed when your energy gauge is completely full and you press Y while holding RT this will see them unleash a huge, screen-clearing attack specific to them and each character will perform these in succession if their energy gauge is full. You’ll also earn additional bonuses if certain characters pull off their special moves at the same time, and this also happens if your team is formed of characters who have a history together, like the X-Men or the Fantastic Four. The game’s story mode is comprised of five “Acts”, which drop your team in a variety of locations that should be familiar to Marvel Comics fans. After clearing the first mission, which has you retaking a S.H.I.E.L.D. Helicarrier from Dr. Doom’s forces, you’ll be dropped into one of five hub areas where you can interact with Nick Fury, Natasha Romanoff/Black Widow, and other non-playable characters (NPCs) to learn more about your current or next mission, gain insight into the heroes and villains, and be given side quests to perform. In the hub area, and scattered throughout each location, are S.H.I.E.L.D. Access Points where you can save or load your game, change up and upgrade your team, or revive fallen teammates. Just as blue energy orbs can be acquired during gameplay, so too can red health orbs, but some environmental hazards or bottomless pits will see you or your teammates taken out of action. It can take about three minutes for your fallen ally to be ready for revival, but they can only be brought back into the fight from one of these save points. As you defeat enemies, you’ll earn experience points (XP) and level-up once you’ve gained enough XP, which will improve both your individual and team stats and unlock additional special moves for you to utilise. From the Hero Management screen, you can switch your character entirely, change their costume (which affords different abilities), equip gear to boost their stats, and name and improve the competence of your team to increase your odds when in a fight.

The tedious combat is broken up by some simple puzzles, QTEs, or short bites of variety.

Gameplay in Marvel: Ultimate Alliance quickly grows quite repetitive; you can charge through most missions by repeating the same combos and special moves over and over, and opportunities for exploration are quite limited as areas generally only give the illusion of being large and multi-pathed. Combat doesn’t get much deeper than tripping, stunning, or blasting enemies, or avoiding using physical or energy-based attacks, and it’s surprisingly easy to get turned around in areas even with the presence of a mini map as one dark, grey corridor looks the same as the last. Puzzles aren’t much of a head-scratcher here; you’ll generally fight your way to a console or power generator that needs to be activated or destroyed, though sometimes you’ll need to activate two switches at once with the either of a partner, and you’ll sometimes have to perform these tasks against a time limit. You’ll need to push or pull heavy objects onto pressure pads, redirect sunlight to free Balder Odinson, defend Dum Dum Dugen in a glorified escort mission, perform character-specific motions to activate statues, or complete quick-time events (QTEs) to open doors or take out larger, otherwise-invulnerable bosses. You’ll jump behind the controls of an anti-aircraft cannon, be joined by NPCs like Major Christopher Summers/Corsair, and have to rescue characters like Doctor Bruce Banner and Prince Namor McKenzie/The Sub-Mariner, though some of these are optional side quests. These optional missions appear during the main campaign and often having you searching for items for a specific character, or destroying certain targets along the way, and sometimes you’re faced with an impossible choice between two options which will fundamentally alter the multiple endings. Gameplay really gets interesting, though, when you end up in Murderworld, a twisted funfair featuring bumper cars, a giant pinball set, a hedge maze, and even an old-school Atari-style mini game that sees you awkwardly swinging from ropes and collecting Golden Tickets to rescue Doctor Jean Grey/Phoenix from Arcade’s clutches.

Graphics and Sound:
Marvel: Ultimate Alliance is largely an impressive looking title, despite how old it is now, thanks to the zoomed out, almost isometric camera perspective. This means that the in-game character models, while hardly the most detailed, pop out nicely against the various backgrounds and I liked how they all had their own unique flourishes, like Spider-Man being able to web enemies up when he grabs them and Norrin Radd/The Silver Surfer floating around on his cosmic surfboard. Unlike some similar team-based brawlers, this really helps it to feel as though each character plays a little differently since they don’t just share the same animations and have a little individuality to them; you’ll need a stronger character to move certain objects, for example, and it’s much easier to explore the environment with a character who can fly. While your customised team won’t appear in the pre-rendered cutscenes, they do all have a lot of unique dialogue during the game, and when talking to or fighting against other characters; dialogue trees exist so you can ask a number of questions to NPCs or pick different options, which either helps you answer trivia questions, kicks off a side mission, or has you picking to team up with or save a different character, and villains like “Lester”/Bullseye or Quinten Beck/Mysterio. Unfortunately, the music isn’t really on par with the voice acting; it’s all very generic superhero-y or militaristic themes, and the in-game tracks often awkwardly loop, which is very jarring; the music’s also very loud, so you might want to adjust the sound settings in the options.

While the cutscenes aren’t great, the in-game graphics are decent enough and there’s a lot of dialogue variety.

The pre-rendered cutscenes also often let the game down a bit; they haven’t aged too well, and have a very rubbery and surreal quality to them (though they are pretty epic, especially when the Masters of Evil are discussion their evil lot and when Galactus and Uatu/The Watcher enter the story) that I’d criticise more if I could actually see them but the cutscenes are very dark and the only way to brighten them is by changing your television’s settings. The game’s environments often don’t fare much better, either; while it’s fun visiting places like the Sanctum Sanctorum and Valhalla in the hub worlds, the actual mission locations quickly become confusing and boring. While there’s a lot to destroy and see in each area, and even some hidden paths to uncover, rooms, corridors, and sections all start to blend together and the levels themselves can outstay their welcome at times, which only makes the monotonous combat more glaring. That’s not to say that there aren’t some visually interesting locations, though; you’ll swim through the depths of Atlantis, travel to Hell itself, battle across the length of the Bifrost Bridge and through the frozen wastes of Niffleheim, and infiltrate the gothic, regal stone walls of Castle Doom. Easily the most impressive area you’ll visit, though, is the Skrull home world, which is currently under attack by Galactus; the World-Devourer is seen lumbering around in the background between the futuristic skyscrapers and even pursues your across the walkways in an exciting (if frustrating) sequence, though the gameplay and visual variety offered by Valhalla is equally fun as you can visit the Warrior’s Hall (where NPCs are enjoying revels) and hop across Viking ships amidst a cosmic backdrop.

Enemies and Bosses:
Since a gaggle of Marvel’s most notorious villains has joined forces in Marvel: Ultimate Alliance, you can expect to come up against a bevy of disposable goons during your adventure. It doesn’t take long for you to basically have seen everything the game has to offer in this regard, but each location does at least change up the appearance, dialogue, and some of the attacks of the enemies you face; you’ll battle Ultron’s minions, Loki Laufeyson’s trolls, and soldiers from the Shi’ar Empire and the depths of Atlantis, all of whom can be defeated using your standard combos or special powers. You can set your team mates to follow, attack, or defend formations, but I always like to choose an aggressive approach to overwhelm the hoards of enemies that can flood each area. Some of these carry weapons, either melee armaments like axes, spears, and swords which you can appropriate, or laser rifles for long-range attacks; others shield themselves and need to be attacked from behind or stunned. Some, like the imp-like demons from Mephisto’s Realm, leap onto you and drain your health, while others fly above taking pot-shots at you, and some are resistant to physical or energy attacks or need to be tripping, stunning, or blasted into the air. Some are larger, dealing and taking more damage, while others regenerate their health (or their allies), sap your health or energy, or boost the attack of other foes, so it’s best to take those guys out first.

A whole host of Marvel villains stand in your way, though most can just be beaten into submission.

The Masters of Evil have assembled quite the smorgasbord of allies; you’ll do battle with almost every single villain from Marvel Comics throughout the course of the game, sometimes more than once, as various underlings dog your progress throughout each mission. Often, you’ll battle at least two of these sub-bosses at a time; sometimes they flee after an initial encounter and need to be fought again, other times they’re powered up to be more formidable, and in other cases they’re able to heal or shield each other from your attacks by working together. However, defeating the likes of Mac Gargan/The Scorpion, Bullseye, James Buchanan “Bucky” Barnes/The Winter Soldier, Chen Lu/Radioactive Man, Valentin Shatalov/Crimson Dynamo, Aleksei Sytsevich/The Rhino, Herman Schultz/The Shocker, Doctor Curt Connors/The Lizard, Hussar and Neutron, Paibok, and even the corrupted superheroes you eventually fight really don’t require much more than you constantly attacking them with combos and special powers. Indeed, while it’s impressive that so many villains appear in the game, very few actually offer much in the way of a challenge beyond being a little tougher than the regular enemies you encounter, with even the likes of notorious villains like Ultron and Titannus proving quite disappointing encounters as, while they keep you at bay with laser blasts or destroy everything in a rampage, respectively, both can be similarly put down without any complicated strategies. Many of these villains are fought in teams, however, and they can also reappear in the simulator missions you unlock by finding discs, allowing you to battle them with different characters and in different situations, but as long as you string together your usual combos and unleash your best special attacks they go down pretty easily, even when bolstered by disposable minions.

Some of the best sub-bosses require a bit more strategy and forethought to put them down.

Other villains, however, do bring a little bit more to the table: Mysterio uses illusions to throw you off and, while Paul Pierre Duval/Grey Gargoyle can disable you by turning you to stone, Baron Carl Mordo, Kl’rt/Super Skrull, and the Mandarin disable you with elemental attacks to encase you in ice or send you flying with a blast of wind. The Mandarin also ends up being a particularly annoying boss as you need to lure his spider-like robots into teleporting to his safe spot to destroy his endless supply of Ultimos and actually bring him down for good. Mental/Mobile/Mechanized Organism Designed Only for Killing/M.O.D.O.K. challenges you to a trivia quiz to get closer to him, then brings in waves of Advanced Idea Mechanics (A.I.M.) minions to annoy you in addition to firing lasers and shockwaves at you. When battling Byrrah Thakorr-So and Krang, you also need to destroy sonic emitters to progress the mission, while Attuma and Todd Arliss/Tiger Shark can be difficult to hit as they’re swimming all over the place, making for a more aggravating encounter. Dragon Man randomly drops in as a tough obstacle to bypass since he’s capable of dishing out some formidable damage, while Blackheart employs multiple versions of himself to attack you and you’ll need to take on all three members of the Wrecking Crew at once (though they fall pretty easily if you’re wielding an axe or other weapon). Amora the Enchantress can allure you and your teammates into not attacking her, and will heal her brutish ally, Skurge the Executioner, Ulik and Kurse can only be defeated by attacking one with melee attacks and the other with energy attacks, and you’ll need to lower the shields protecting the likes of Kallark/Gladiator, B’nee and C’cil/Warstar, and Cal’syee Neramani-Summers/Deathbird (who flies around the arena tantalisingly out of reach and swooping down to grab you otherwise).

The bigger, more formidable bosses offer a bit more variety and spectacle.

Luckily, the game claws back a bit of challenge and intrigue by its large and engaging end of Act boss battles. After fending off Dr. Doom’s attack on the Helicarrier, you’ll battle Fing Fang Foom on the main deck; this gigantic alien dragon blasts fireballs at you from the air, covers the ground with shockwaves when it lands, and can only be brought down by firing anti-aircraft cannons at it and making good use of your ranged attacks. After making it past his robots and death traps, you’ll battle Arcade’s massive mech in a circus tent, which you need to fire yourself at using cannons and succeed at QTEs in order to have it damage itself in frustration. The eldritch Kracken is one of the ore frustating bosses as you can’t damage it directly and must lure it into attacking the nearby columns so you can complete a QTE sequence, but it seems completely random when it’ll actually smash into these columns, meaning the fight drags a bit. Fittingly, Mephisto awaits you in the depths of Hell; this demonic villain spews hellfire at you, protects himself from attacks with a shield, and can even screw up your controls with his powers, though you can disarm him and use his Hellsword to damage him. You’ll have to take extra care when Mephisto compels Kurt Wagner/Nightcrawler or Jean Grey to attack you, however, and will lose that character forever when they sacrifice themselves to stop Mephisto. At first, Loki isn’t really too much of a threat; sure, he’s got lightning attacks that stun you and is assisted by his Frost Giant minions, but he goes down pretty easily. However, it’s all a ruse as he then poses s Nick Fury to have you activate the indestructible Destroyer, which you must flee from while desperately searching for the ice-shielded Loki; once you find him, simply attack him until his shield breaks and the fight is ended. Galactus, however, is a threat far too big for you to tackle head-on; instead, you must desperately flee from him (destroying his drills if you have time) and then avoid his massive fists to activate three consoles and blast at him as the Silver Surfer in a QTE sequence. Finally, you must take on Dr. Doom himself; however, despite stealing Odin’s power to become a literal God, the mad doctor really isn’t too difficult to defeat even with the corrupted Fantastic Four acting as his personal guard. Simply destroy the four generators powering his shield, chase him down as he dashes and teleports across his throne room, mashing buttons when he grabs you, and pummel him as you would any other enemy or boss and, eventually, he’ll be defeated without too much problem regardless of his electrical attacks or shockwaves.

Power-Ups and Bonuses:
As mentioned, you can refill your energy and health by collecting blue and red orbs, which are dropped by enemies or found by destroying crates or opening chests. While some hazards can whittle your health down pretty quickly, or kill you immediately, health is pretty easy to come back, and you can also grab weapons to dish out greater damage to enemies (in fact, this is highly recommended as weapon attacks easily cut down even the most intimidating Super Soldiers and Doombots). You will also acquire S.H.I.E.L.D. Credits from enemies and the environment, which can be spent on upgrades to your character’s powers, costume-specific abilities, and upgrading your team’s stats; you cans et these to auto-upgrade, but they increase in cost each time you boost them so you can burn through Credits pretty quickly. Defeating the game’s many sub-bosses and bosses will also yield special gear that you can assign to each character; this will boost your attack, XP, or gauges, resist or inflict elemental damage, and offer numerous other perks but you can only equip one item to each character and your inventory has limits, meaning you’ll need to sell some to make way for new pick-ups as you come across them. Finally, as mentioned, you’ll get boosts to your stats and performance for forming teams of related characters, and performing special moves with certain characters, so it can be beneficial to experiment with different combinations and search around the environments for chests for more loot.

Additional Features:
There are forty-six Achievements on offer in Marvel: Ultimate Alliance, with the majority of them popping after clearing each Act and defeating bosses. Other Achievements include tossing enemies to their deaths, performing a certain number of finishing moves, defeating a certain number of enemies, unlocking every character and costume, and finishing the game on Hard mode, among others. Since the only difficulty-based Achievement you get is finishing on Hard, you may as well play through on Easy unless you’re going for that Achievement, and you’ll also get Achievements for finishing missions with another human-controlled character and upgrade every character’s special moves. Throughout each level, you’ll find a number of collectibles scattered about; art books unlock artwork to view, action figures allow you to unlock T’Challa/Black Panther and Matt Murdock/Daredevil as playable characters (and you can play a claw mini game in Murderworld to unlock Eric Brooks/Blade as well), and you can unlock Nick Fury by finishing the game once and the Silver Surfer by earning at least a Bronze medal in the game’s bonus simulator missions. These are unlocked by finding S.H.I.E.L.D. Simulator discs and recreate key moments and battles from each character’s history in a series of tough challenges. You can also take on five sets of trivia questions in each hub world for additional XP and Achievements, replay and revisit any Act, hub, and mission once you’ve finished the game, view movies and other unlocks in the gallery, and go head-to-head with your friends batting for points in an “Arcade” mode. By defeating numerous enemies with each character, you’ll eventually unlock up to four different costumes for each one, with these offering slightly different abilities that you can upgrade. Unfortunately, you can no longer purchase the two additional DLC packs, which added eight new characters to the roster in addition to twelve extra Achievements, none of which can be accessed on home consoles any more, which is a shame as I wanted to have Eddie Brock/Venom on my team and had to settle for symbiote Spider-Man.

The Summary:
I’d played Marvel: Ultimate Alliance before on the PlayStation 3 and, while I’d enjoyed it, I remember being put off by the lack of Trophies to earn and the fact that the DLC was only available on the Xbox 360 version. When I finally bought an Xbox 360, this game was on my buy list and, coincidentally, was a bit more expensive than I’d like and the DLC was still unobtainable, unless I wanted to shell out ridiculous amounts for an imported version. When I finally got it again, I enjoyed getting back into it; the game is very action-packed and chock full of playable characters, cameos, and villains to fight, but there’s really not a great deal to the combat, graphics, or the story. It’s fine and enjoyable enough, but things get repetitive very quickly and you’ve basically seen everything the game has to offer (apart from a few bells and whistles) after the first Act. You’ll beat on the same generic goons with the same tedious combos over and over, solving simplistic puzzles and spending your Coins on upgrades, but very rarely will you actually find much t set this apart from other, similar brawlers. The character selection and variety is great, and I like how they feel distinctive despite basically all being the same, and I enjoyed how some stages were more visually interesting than others, allowing you to swim or venture onto the hull of a space craft. While the sub-bosses weren’t up to much, the bigger bosses offered a bit more challenge and entertainment, but it feels a bit like the developers maybe crammed a little too much into the game without trying to make each villain a unique encounter. Overall, it’s a decent enough team-based brawler that’s probably more fun with a couple of friends to play with; there’s some decent replay value on offer with the different endings you can get based on your decisions and the extra missions and unlocks to find, but it does feel a little lacking in presentation and overall content to really score much higher.

My Rating:

Rating: 3 out of 5.

Pretty Good

Have you ever played Marvel: Ultimate Alliance? If so, what did you think to it and who made it into your team? What did you think to the combat, character selection, and the overall gameplay? Were you disappointed that the boss battles were mostly just a tedious log? Which of the characters, villains, and locations was your favourite? What endings did you get and did you ever unlock all of the costumes and characters? Did you ever play as the DLC characters? Where would you rate this game against its sequels and other similar games? How are you celebrating National Superhero Day today? Whatever your thoughts, sign up to leave a comment below or leave a comment on my social media, and be sure to stick around for more superhero and comic book content throughout the year.

Back Issues [Stark Sunday]: The Invincible Iron Man #1


Anthony “Tony” Stark/Iron Man first lived, walked, and conquered in the pages of Tales of Suspense #39, published in March 1963 and brought to life by Marvel mastermind Stan Lee, Larry Lieber, and Don Heck. Since then, ol’ shellhead has gone through numerous different armours, served on Marvel’s premier super team, the Avengers, struggled with alcoholism, swapped places with his teenaged younger self, fought against and imprisoned his fellow heroes, featured in numerous videogames and cartoons, and shot into mainstream superstardom thanks to am iconic, career-defining portrayal by Robert Downey Jr.  


Story Title: “Alone Against A.I.M.!”
Published: May 1968
Writers: Archie Goodwin
Artist: Gene Colon

The Background:
Long before Robert Downey Jr. uttered that unforgettable line, “I am Iron Man”, Stan Lee’s original Iron Man was to take a concept his readers would hate (a rich military industrialist), throw in a little Howard Hughes and personal tragedy, and make him a character to root for. Mounting deadlines saw Lee’s younger brother, Larry Lieber team with legendary Jack Kirby for the character’s debut in the pages of Tales of Suspense as an anti-communist. After Tales of Suspense was rebranded as a Captain America title in 1968, Iron Man was upgraded to his own solo series, The Invincible Iron Man, which has run pretty much uninterrupted from 1968 all the way up to the present day and has been home to some of the character’s most memorable and influential storylines.

The Review:
Oddly for the first issue of ol’ shellhead’s solo magazine, “Alone Against A.I.M.!” is actually the continuation of a story that began in the pages of Iron Man and Sub-Mariner and finds the Armoured Avenger being captured by a “vortex suction beam” courtesy of Advanced Idea Mechanics (A.I.M.) after rescuing Supreme Headquarters, International Espionage and Law-Enforcement Division (S.H.I.E.L.D.) agent Jasper Sitwell. The story takes place out in the vastness of the ocean, with Sitwell onboard a ship controlled by the Maggia crime syndicate hat is scuppered by A.I.M. Sitwell desperately attempts to maintain calm and get out into the open to summon help with his pocket communicator; despite briefly losing his glasses in the fracas, the eloquent agent is able to rescue one of Tony Stark’s admirers, Whitney Frost, and get the two picked up but a hovercraft commanded by none other than Colonel Nick Fury himself. Frost sells herself as a forthright socialite who deceives men with her charm and looks, but she’s actually looking to steal the secrets of Stark Industries and reclaim herself as the “Big M” of the Maggia.

Mordius has A.I.M. capture Iron Man so he can duplicate his armour.

This is merely a side-plot to the main story, however, which sees the bee-suit-wearing A.I.M. grunts entrap Iron Man in a magnetically sealed chamber on the orders of Mordius. Iron Mans fight with Mark Scarlotti/Whiplash in the previous story has drained his Repulsor Rays and the chamber is too tough for him to expend the energy trying to batter through, but he doesn’t have too long to worry about any kind of escape plan as A.I.M. promptly render him unconscious with a knockout gas and transport his helpless form to Mordius’s castle out on a small island off the New England coast. The A.I.M. minions are absolutely devoted to their master’s cause and the sanctity of A.I.M.s…well, aims, but Mordius himself is quite the abusive blowhard: garbed in a blue helmet and white outfit, he doesn’t tolerate tardiness, claims A.I.M.’s greater glory is his for the taking, and makes aggressive demands of his underlings without gratitude or concern for their welfare, but they’re only to happy to bow to his every whim and place the unconscious Avenger in the “X-Ray Photo-Chamber”. Mordius’s goal is less about the main within the armour and more with uncovering the secrets of the technology that powers Iron Man’s superhuman feats and is so confident in his machine that he removes his protective headgear, thus shedding the usual anonymity afforded to A.I.M.’s representatives, which also serves the dual purpose of clearly setting him above and beyond the usual A.I.M. grunts. Mordius delivers a lengthy soliloquy on the advanced capabilities of his machine, which scans and analyses every inch of the Iron Man armour and produces near-perfect replicas that he wastes no time in outfitting to three of his underlings.

Despite Iron Man’s efforts, it’s Mordius’s hubris that destroys A.I.M.’s ambitions.

However, Iron Man proves to not be as subdued as Mordius believed thanks to the oxygen supply contained in his armour; he breaks out of the chamber, destroying the irreplaceable “Vario-Mold Matrix” that allowed Mordius to copy his armour, but Mordius’s copies wildly malfunction when they try to use the Repulsor Ray technology and jet boots, causing only further damage to the A.I.M. master’s laboratory. Incensed at the development and convinced that Iron Man somehow sabotaged the process, Mordius both opens fire and commands his minions to stop messing around with the armour’s ordinance and attack Iron Man directly. Thankfully for the Armoured Avenger, the numbers advantage of his enemies means little; his armour’s “refractory casing” distorted the x-ray enough to produce inferior replicas and the fake Iron Men are nowhere near as skilled in utilising the armour’s full potential, easily allowing him to outfight them. Now determined to obliterate his hated enemy, Mordius fires a massive rocket cannon at the armoured group, no longer caring a lick for the fates of his loyal followers. However, Iron Man is able to avoid this lethal blast and sabotages the generator room; in response, Mordius unwittingly seals his fate and the fate of his fellow A.I.M. soldiers as he causes a massive power overload when he cranks up the auxiliary power. Thus, Iron Man is able to fly to safety while seemingly the entire castle explodes behind him, presumably taking all inside it in its wake and leaving shellhead to ponder that Mordius’s inability to consider himself anything less than perfect ultimately lead to his demise.

The Summary:
Well…this was certainly a whole lot of nothing. Just about the only thing “Alone Against A.I.M.!” has going for it is Gene Colon’s stunning artwork and Johnny Craig’s vibrant colouring, which really bring Iron Man to life. I think beginning Iron Man’s first solo series with the conclusion to a previous story was a pretty poor decision; it seems to me like starting a two-story arc and ending the first issue on a cliffhanger would have been far more effective but, instead, we get this forgettable tale where Iron Man feigns being unconscious for the majority of the narrative and we’re left wasting time with the weirdly articulate Sitwell and Mordius, two characters who simply love finding the most dramatic and overblown way to fill up panels with pointless dialogue. Since he’s a far greater part of the story, Mordius obviously carries a lot of the blame for this; he monologues at length about his amazing machine, gloats nonstop about his assumed victory, and seems to be this hyper-intelligent, super-smart tyrant but descends into an enraged madman to moment his plans go awry.

The art, and the bungling Iron Man copies, are the best part of this forgettable story.

I guess the best part of the issue is seeing how flawed Mordus’s Iron Man copies are; their Repulsor Rays hit everything but Iron Man, they fly head-first into the ceiling, and they’re unable to overpowered the Armoured Avenger despite apparently having been briefed on how to utilise the armour. Rather than coming across as a threat, though, they seem little more than bungling fools for Iron Man to toss about, mock at every turn, and are nonchalantly blasted to smithereens by Mordius’s own weapon! Iron Man is then able to destroy the entire castle with minimal effort, and without even meaning too! Half of the demise of Mordius is told off-panel and through an anti-climatic explosion, Iron Man barely even gives a shit that he just killed God-knows how many people, and I’m left wondering just what the hell the point of this issue was. I wouldn’t mind but “Alone Against A.I.M.!” isn’t the only story in the issue as the rest of the pages are taken up with a truncated version of Iron Man’s origin that was completely unnecessary and I can’t help but wonder if those couple of extra pages could’ve been better served adding to this story to maybe flesh out Iron Man’s escape a bit more. Instead, he just…conveniently slips away and then just flies out of their completely unopposed with Mordius dooms himself with his hubris.

My Rating:

Rating: 1 out of 5.

Terrible

Have you ever read “Alone Against A.I.M.!”? Were you also disappointed by its story and pacing? What did you think of Mordius and what some of your favourite A.I.M. moments? What are some of your favourite Iron Man characters or stories? Where does Iron Man rank in your hierarchy of comic book characters? Are you doing anything to commemorate Iron Man’s debut appearance and, if so, what is it? Either way, I’d love to hear your thoughts on Iron Man so sign up to drop them below or leave a comment on my social media.

Talking Movies: Avengers Confidential: Black Widow & Punisher

Released: 25 March 2014
Director: Kenichi Shimizu
Distributor: Sony Pictures Home Entertainment
Budget: Unknown
Stars: Jennifer Carpenter, Brian Bloom, Grant George, JB Blanc, Eric Bauza, and John Eric Bentley

The Plot:
After interfering with a top secret mission, Frank Castle/The Punisher (Bloom) is apprehended by Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.) agent and Avenger Natasha Romanoff/Black Widow(Carpenter) and the two are ordered by director Nick Fury (Bentley) to stop the terrorist organisation known as Leviathan selling stolen S.H.I.E.L.D. technology.

The Background:
After his impressive debut in the pages of The Amazing Spider-Man #129, the Punisher quickly became one of Marvel’s most popular anti-heroes thanks to his tragic backstory and unwavering commitment to the eradication of crime. His popularity has led to the character appearing in a number of multimedia projects outside of the comics, including videogames and both live-action and animated portrayals. Between 2010 and 2011, Marvel Entertainment teamed up with Japanese animation studio Madhouse to produce four anime projects, known as Marvel Anime, to little success. Avengers Confidential: Black Widow & Punisher was the follow-up to those projects; released mid-way through “Phase Two” of the massively successful Marvel Cinematic Universe (MCU), the anime drew a mixed reception despite making over $1 million in domestic home video sales.

The Review:
The movie opens to find the Punisher monitoring a rise in criminal and gang activities, as well as newspaper reports on himself, from his apartment (which, as is tradition, doubles as his armoury) while Black Widow expresses frustration at the Punisher’s mounting reputation as a vigilante. The opening credits play over a very quick montage of stills and images that give a quick recap of each character’s background and origin, showing Frank’s time as a family man and the deaths of his family in a mob hit and Natasha’s time training as a spy and assassin and association with S.H.I.E.L.D.

The Punisher and Black Widow appear to be physical equals but their fights are constantly interrupted.

The Punisher makes short, brutal work of some black-market weapons dealers, filling them with bullet holes and easily taking them apart by himself (despite them having more weapons and the numbers advantage) until only one man, Cain (Hebert) is left. Though disturbed at the high-tech weaponry Cain was selling, his efforts to torture more information out of the perp are interrupted by the arrival of Black Widow. Unimpressed with Fury’s operation and Widow’s criticism of his methods, a fight between the two ensues; though the Punisher demonstrates greater physical ability and immediately goes for his pistols, Widow is easily able to match him blow for blow with her superior acrobatic skill until Fury (modelled after his Ultimate and MCU counterpart) and his soldiers interrupt and Frank is subdued by one of Widow’s tranquiliser darts. However, during all the commotion, Cain manages to slip away unnoticed.

Fury manages to coerce Frank into teaming with Black Widow to infiltrate a Leviathan base.

Aboard the S.H.I.E.L.D. Helicarrier, Fury attempts to reconnect with Frank, whom he has a shared history with, and to impress upon him that his methods, while effective, are disrupting the bigger picture since he has started to interrupt S.H.I.E.L.D.’s procedures. Frank, however, is disgusted at the potential lives Fury’s methods have cost and it’s very quickly established that he and S.H.I.E.L.D., while working towards the same goal, are diametrically opposite. Still, Fury is able to inform Frank that the terrorist organisation Leviathan is selling stolen S.H.I.E.L.D. technology and the two are able to reach an agreement since the Punisher sees that the only reason he has been brought into custody is so that he can be unleashed upon Leviathan. Teamed with Black Widow, the Punisher shares the information Cain gave him and, begrudgingly, the two head to a Leviathan base in the frozen wastes of Slovenia; Widow exposits some background on Leviathan, who have grown into a sophisticated and deadly terrorist organisation that, it is soon revealed, has begun to experiment in created super soldiers and bioweapons. Thanks to their unique skills and training, the two are easily able to infiltrate the base and dispatch of the handful of guards with lethal effectiveness, but the Punisher immediately goes off script as soon as he spots Cain and another fight between the two breaks out.

Amadeus accidentally sends the Punisher on a killing spree with Leviathan’s mind control technology.

This time, however, it’s much briefer and Frank simply storms out and leaves Widow to blindly follow Fury’s orders. Although he captures Cain, his efforts to torture him for more information are once again thwarted when Cain blinds him with a flash of light and slips away once more. Continuing on mission alone, Black Widow subdues the Leviathan scientists non-lethally before being attacked by her former lover, and ex-S.H.I.E.L.D. agent, Elihas Starr (George), who faked his death and has joined Leviathan. Angered at his betrayal, Widow is no match for Elihas, who easily avoids, counters, and matches her frantic attacks while expositing that he chose to develop super soldiers for Leviathan to prove himself worthy of being Natasha’s equal and partner. Elihas attempts to convince Widow into joining him in Leviathan but, though heartbroken at his betrayal, she vehemently rejects him and fights him with renewed vigour and purpose; the Punisher aids her and destroys the facility and the two bring Cain’s cell phone to S.H.I.E.L.D.’s resident kid super genius, Amadeus Cho (Bauza). Though slovenly, excitable, and a teenager pervert, Amadeus is able to decrypt the phone but inadvertently sets the flash function off once again, which puts the Punisher into a bloodthirsty trance that sees him killing numerous S.H.I.E.L.D. agents before he is brought back to his senses. However, while Widow advocates for the Punisher’s state of mind, he is shaken at his actions and willingly submits himself to S.H.I.E.L.D. incarceration after killing innocent men.

United by a common goal, the Punisher and Black Widow eventually form a mutual respect.

Natasha is left feeling further betrayed when Fury reveals that he not only knew about Elihas but was also fully aware that leviathan possessed mind control technology and that he had stolen the Avengers’ blood in order to create his super soldiers. This is, of course, perfectly in keeping with portrayals of Fury as the ultimate spy whose “secrets have secrets” but his willingness to sacrifice both her and the Punisher spurs Black Widow into defying Fury’s orders and convince the Punisher to help her bring down Elihas and Leviathan. This takes the two to an underworld auction in Mandripoor where Elihas’ super soldiers are being sold off to a number of Marvel’s notorious supervillains and, ultimately, forces the two to pool their resources as a more effective team rather than being at odds with each other. In the end, though the two have opposing methods and beliefs, they are able to find some common ground and build a mutual respect for each other’s methods that culminate sin Widow willingly letting Frank return to his never-ending, one man war on crime rather than arrest him as per Fury’s orders.

The Nitty-Gritty:
Of course, every anime lives and dies by the quality of its animation and Avengers Confidential is a pretty slick and smoothly animated feature. Blood and gore fly in the air with a beautiful grace and characters move with either grace and poise or a heavy, weighty physicality when not standing around like statues. Amadeus is probably the most over the top character in terms of his animation, which plays into his quirky and impulsive personality, and the film does a decent job of emphasising the differences between its two main characters through their movements and physicality as much as their personalities.

While the Punisher is a blunt, brutal instrument, Black Widow is sleek and efficient.

The Punisher is cold, blunt force while Black Widow is slick efficiency; the Punisher seems disconnected from humanity and focused only on solving problems in the most direct way possibly, while Widow (and Fury) are concerned with the bigger picture and a strategic approach to secured the safety of millions. The Punisher’s presence turns a lot of heads around S.H.I.E.L.D., who view him with a mixture of awe and fear, and he earns this reputation thanks to his vicious efficiency; when under the influence of Leviathan’s mind control, he resembles little more than an emotionless killing machine. In comparison, Widow is effortlessly smooth and sexy in her movements, moving like liquid and with a serene grace that allows her to easily incapacitate even larger foes. Initially, Elihas is positioned as the primary antagonist of the feature and, thanks to his rushed connection to Black Widow, ensures that Natasha has a more personal stake in the film’s events beyond simply doing her duty to safeguard the world from Leviathan’s technology. Elihas exposed himself to his own super soldier serum, augmenting his strength and abilities in an effort to prove himself worthy of Widow’s love; though he believe that she loved him in the past, he was spurred by her always choosing missions with the Avengers and her life as a superhero over him and resolved to find a way to truly be her equal. Elihas truly believes that S.H.I.E.L.D. is actually oppressing people rather than saving them and that war and conflict are inevitable; as a result, he is perfectly fine with escalating and even starting wars with Leviathan’s technology and resources and sees his super soldiers as the next logic step towards consolidating their influence on the world.

Both the Avengers and Orion show up too late to do much of anything.

Although the Avengers get top billing in the film’s title and feature prominently on the DVD artwork, they don’t actually play a big role in the film and only show up right at the end. Despite having defied Fury’s orders, Black Widow and the Punisher’s mission to stop Leviathan is provided much-needed support when Tony Stark/Iron Man (Matthew Mercer), Doctor Bruce Banner/The Hulk (Fred Tatasciore), Thor Odinson (Unknown), Clint Barton/Hawkeye (Mercer), James Rhodes/War Machine (Unknown), and Carol Danvers/Captain Marvel (ibid) all arrive to help fight off Leviathan’s super soldiers. This leads to some high-octane action but never really overshadows the more grounded and gritty storyline featuring the two leads, who remain at the forefront of the narrative thanks to Natasha’s arc with Elihas and the Punisher’s vendetta against Cain. This is made even more explicit with how unimpressed the Punisher is by Stark’s bravado and the Avengers’ powers and abilities; he’s there with a mission to fulfil and merely tolerates their presence rather than jumping at the chance to join forces with Earth’s Mightiest Heroes. The true head honcho of Leviathan is the mysterious Orion (Blanc), a semi-cybernetic, cloaked madman who doesn’t even physically appear until the last moments of the film. However, despite Orion’s influence and power, we learn basically nothing about him and he is ultimately unable to hold sway over Elihas; during his climatic and emotionally charged showdown with Black Widow, Elihas finally comes to his senses and realises that the love they two of them shared is still there. This proves to be his undoing, however, as he sacrifices himself to save Natasha’s life after Orion shoots at her and dies in her arms. The film does a decent, if rushed job, of trying to place some emotional significance on Elihas’s character and sacrifice but I find myself oddly apathetic since I have no idea who he is; all of their backstory is conveyed through flashbacks and is told to us. We never get to see them as a proper couple or in action together, which I feel hurts the emotional core of their story; he an extra five or ten minutes been included at the start of the film to show their relationship before his downfall, this might have gone a long way to addressing that issue.

The Summary:
Avengers Confidential: Black Widow & Punisher is a really weird production, to be honest; the animation is great and it has that slick, silky smooth quality that you expect from an anime and some brutal, bloody fight scenes but I’m not really sure what the purpose of it is. As far as I can tell, it’s not supposed to tie into any other Marvel production, which makes characters such as Elihas, Orion, and Leviathan very underdeveloped and inconsequential since I have no real personal stake in their story or motivations, and they exist solely to give the title characters someone to fight against and force an emotional conflict for Black Widow. I feel like Punisher is a strong enough character to have carried the anime by himself but, while it is interesting to juxtapose his more extreme measures with the likes of the Avengers and S.H.I.E.L.D., this doesn’t really work when partnering him with Black Widow. Sure, her methods and motivations are different enough but she’s still a spy, a former assassin, with plenty of “red in her ledger” so I can only imagine that she’s partnered with the Punisher to give the anime some sex appeal. In the end, it’s a short and decent enough story; it doesn’t really add anything new to the Punisher or show you anything you can’t see in other Marvel animations or productions but it manages to be just entertaining and action-packed enough to stay afloat despite its mediocre plot and characterisations.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever seen Avengers Confidential: Black Widow & Punisher; if so, what did you think to it and how do you think it holds up against Marvel’s other anime and animated depictions of these characters? What did you think to the concept of teaming these two up and the animation style? Do you think it would have been better to see a solo Punisher feature or to emphasise the more popular Avengers more or were you happy with the story it told? Do you know who Elihas Starr is and, if so, can you tell me why I should care? What is your favourite Punisher story, character, and adaptation (whether it be a movie or videogame)? How are you celebrating the Punisher’s debut this month? Whatever your thoughts on Avengers Confidential: Black Widow & Punisher, and the Punisher in general, drop a comment down below.

Back Issues: Tales of Suspense (Featuring the Power of Iron Man) #57

Story Title: “Hawkeye, The Marksman!”
Published:
1 September 1964
Writers: Stan Lee and Larry Lieber
Artists: Don Heck and Larry Lieber

The Background:
In November 1941, Mort Weisinger and George Papp introduced readers to Oliver Queen/Green Arrow, a crimefighting archer heavily influenced not just by Robin Hood and The Green Archer (Horne, 1940) but who also borrowed more than a few inspirations from Bruce/Wayne/Batman. In perhaps one of the more blatant borrowings from their competitor, Marvel Comics later introduced an archer of their own, Clint Barton/Hawkeye. Created by Stan Lee and Don Heck, Hawkeye was initially portrayed as a villainous character but would soon repent his mercenary ways and go on to not just be a member of the Avengers, but even lead his own off-shoot, the West Coast Avengers. Despite sharing a similar gimmick, Green Arrow and Hawkeye couldn’t be more different in terms of their personalities and status; indeed, while Hawkeye may have been a D-list hero in the grand scheme of Marvel Comics, he was involved in some of their most prominent storylines and became a household name thanks to Jeremy Renner’s portrayal of the character in the Marvel Cinematic Universe. Consequently, for many, the character is one of Marvel’s most relatable and inspirational heroes since he lacks any kind of superpowers and he’s even become a symbol of representation for the deaf community in recent years, and it all started here with his first appearance as an antagonist for ol’ shellhead himself, Tony Stark/Iron Man.

The Review:
It’s hard to say definitively, but I’m fairly certain that I’m far more familiar with the exploits of Green Arrow than Hawkeye. To be fair, it’s probably about 50/50; maybe weighted a little more towards Hawkeye as he tends to show up in the Avengers stories I’ve read. I mostly know Hawkeye from his appearances in the first season of the under-rated Iron Man cartoon (1994 to 1996) and from being a playable character in Captain America and the Avengers (Data East, 1991), both of which were firm staples of my childhood. I’m also relatively familiar with his background and characteristics, but have always been somewhat…meh about him. I don’t really care that he’s an archer or that he doesn’t have any superpowers, as plenty of superheroes get by just being regular people with extraordinary gifts, and I’ve never really questioned his capability as an Avenger, I’ve just never had much of an inclination to seek out any of his stories even though I’m a fan of Jeremy Renner’s portrayal of the character in the Marvel Cinematic Universe. Thus, I went into “Hawkeye, The Marksman!” without any real expectations and with an open mind, ready to see how Marvel handled his debut story, which opens with Iron Man heroically saving a factory worker from being doused by molten steel. This story is set during the time when the official line was that Iron Man was Tony Stark’s personal bodyguard, so no one really questions what ol’ shellhead is doing flying about one of Stark’s weapons facilities, but this also means that Harold “Happy” Hogan has no idea that he’s pouring his heart out to Stark himself when he asks Iron Man to grease the wheels with Stark’s secretary, Virginia “Pepper” Potts, to get him a date.

Hawkeye is so jealous of Iron Man that he crafts a costumed identity to earn the respect of the public.

While Stark now has a reputation as a womaniser, at this point he’s reluctant to get serious with any female since he’s entirely dependent on the transistor-powered device permanently grafted to his chest to keep him alive from the deadly shrapnel lodged dangerously close to his heart, and yet he longs for a more intimate relationship with Pepper and can’t help but feel jealous at Happy’s advances towards her. However, when Stark attempts to raise the subject with Pepper, he makes a poor attempt at it and she immediately assumes that he’s asking her out so she readily accepts, much to the heartache of Stark’s faithful footman. Rather than try and explain things to Pepper, or give her the brush off, Stark decides to take her on a date but not to a fancy theatre show or to dinner; instead, he takes her to Coney Island, where an archer known as Hawkeye fails to impress the sceptical crowd with his perfect marksmanship. While Stark is desperately hoping that Pepper doesn’t suggest riding the Tunnel of Love or moving on to a more intimate setting, fate intervenes (as it so often does in Marvel tales) when the Flying Pinwheel suddenly goes out of control, endangering the lives of its passengers. Seeing the crisis, Stark excuses himself with a paper-thin white lie (“I’ve got to call the factory!!”) so he can clamber into his Iron Man suit (which he generally carries around in a briefcase, though the artwork doesn’t show him holding it here…) and save the day, much to the adulation of the crowd. One man who’s not so impressed, however, is Hawkeye; annoyed that the audience dismisses him in favour of Iron Man, he sulks off to a “basement workshop” to put together a garish outfit for himself in order to emulate the Golden Avenger’s reverence as a costumed adventurer. Armed with little more than a quiver full of specially-made arrows and his unmatched marksmanship skills, Hawkeye vows to show up every other masked hero out there even without any superpowers and immediately feels the thrill of swinging across rooftops using his roped arrows and stopping a jewel thief with a perfect shot.

Assumed a thief, Hawkeye falls under Black Widow’s spell and is soon going up against Iron Man.

Unfortunately, Hawkeye’s decision not to deliver a fatal shot to the thief results in the crook getting away and, as the archer is investigating the loot of precious stones the man stole, he’s discovered by the cops and immediately pegged as the perpetrator. Choosing to run rather than waste time explaining himself, Hawkeye is randomly picked up by none other than alluring Russian superspy Natalia Romanova/Black Widow, herself also a recurring femme fatale for Iron Man during this time. Instantly smitten by the captivating spy, Hawkeye willing allows himself to be taken to her luxurious estate, where Black Widow is easily able to charm him into going up against Iron Man in exchange for upgrading his arsenal and the implied promise of winning her over if she’s able to defeat the Avenger. Speaking of whom, Stark’s personal life continues its drama as, when he goes to apologise to Pepper for leaving her high and dry, he finds that she’s soured on him and has finally agreed to date Happy (although she does this purely to make Stark jealous. Poor Happy!) To lure out his foe, Hawkeye easily sneaks into one of Stark’s factories and causes an explosion with one of his trick arrows; sure enough, the Avenger flies in to investigate and is startled when Hawkeye fires at him with arrows laced with a rust-inducing chemical. Realising that the substance is quickly hardening, Iron Man swiftly takes cover and removes his boots and gauntlets (and, as ever, I remain in awe of just how cloth-like Iron Man’s “armour” is). Hawkeye discovers the discarded pieces of Iron Man’s armour and is elated, hoping that analysing them will allow him to learn the Avenger’s secrets and increase his threat ten-fold; while he’s able to escape from the factory unopposed as Stark is frantically (and literally) re-arming himself with spare parts from the facility, it’s not long before Iron Man has tracked the archer down and run him off the road with a blast from his “Power Ray”.

After injuring Black Widow, Hawkeye’s forced to retreat and Iron Man is unable to pursue them.

Since he’s run out of his special rusting arrows, Hawkeye is forced to rely on the rest of his quiver, which Iron Man is easily able to deflect with his magnetic Repulsor Beams. However, realising that his transistors can’t power his weapons forever, Iron Man tries to swoop down and subdue Hawekeye and ends up ensnared in nylon rope strands that restrain him for all of one panel. By the next panel, Iron Man is not only free but crashing into a wooden pier and flinging Hawkeye into the water, which effectively renders the archer unconscious. As the Black Widow looks on with unimpressed disgust, Hawkeye tries one last trick to complete his mission and win over the gratitude of the gorgeous Russian spy: a “Demolition Blast” arrow that he hopes will conquer the Armoured Avenger once and for all. Unfortunately, the arrow simply ricochets off Iron Man’s armoured hide and the resulting energy blast injures the Black Widow with a glancing blow. Grief stricken and aghast at having injured the “only one [he’s] ever loved”, Hawkeye ignores the stunned Iron Man in favour of spiriting the hurt spy to safety on her nearby boat. Thanks to a convenient fog descending, and the fly zone of La Guardia airport, Iron Man is unable to pursue the two and is forced to return to his factory to brood over his complicated social/love life and to wonder where and when his next threat will arise.

The Summary:
“Hawkeye, The Marksman!” actually ended up being a pretty decent little Iron Man story. I should also point out that I’m not massively familiar with Iron Man’s comics either, though I’ve read a decent amount thanks to the various Marvel Platinum complications that Marvel have published. Consequently, it was interesting to see Stark portrayed as a conflicted and lovelorn man who desperately wants to confess his love of Pepper but dare not because of his dependence upon his armour to stay alive. It was also interesting seeing him torn between his feelings for her and his loyalty towards Happy; he wants to do the right thing by his friend, however difficult and tragic that is for him personally, but at the same time he willingly takes Pepper to Coney Island on what she naturally assumes is a date since she’s also besotted by him. This paints Stark as a morally grey individual since he could have easily just given Pepper the brush-off, but he’s got eyes for her so of course he wants to spend time with her, though he also doesn’t want to step on his friend’s toes (even though he already did…) so he takes her to the least romantic place he can think of. If anyone looks really bad in all this, though, it’s Pepper; she’s infused with that besotted obsession that was all-too prevalent in comic books of this era so she naturally jumps at the chance to date Stark and then only agrees to go out with Happy because she wants to make Tony jealous.

Although he’s got no superpowers and is easily led astray, Hawkeye proves to be a formidable foe.

Thankfully, all of this is just a brief distraction from the main focus of the narrative, which is the introduction of Hawkeye. Here portrayed as a talented but underappreciated circus marksman, Hawkeye provides an interesting and little-seen glimpse into another side of Marvel’s fictional world. In Marvel Comics, the public are generally very fickle, easily forgetful and emotionally chaotic people who will laud the accolades of the Avengers one minute while hating and fearing Mutants and the likes of Peter Parker/Spider-Man the next while also tuning on them in either positive or negative ways on the flip of a coin. In a world so readily populated by super-powered individuals, what chance does a simple archer have of impressing the crowd? Thus, it’s no surprise that Hawkeye should feel jealous that Iron Man stole his thunder, consciously or not, and it’s somewhat understandable that he chooses to craft a brightly-coloured outfit for himself in order to share in some of the glory afforded to other costumed heroes. Unfortunately, his first tentative attempt at masked heroics ends with him being labelled a thief and then being manipulated by Black Widow; it really doesn’t take much more than a sultry glance and some irresistible charm from Madame Natasha for him to not only join her cause but to fall in love with her at first sight and, very quickly, Hawkeye’s initial plan to usurp his peers has been twisted into battling Iron Man on the urging of his newfound partner. The result is a surprisingly layered character; we don’t learn much about Hawkeye (his name and full origins are a mystery here) except that he craves acknowledgement of his unparalleled skills and is easily manipulated by a pretty face, and yet I find myself completely relating to his plight. While you could argue that he’s a naïve buffoon who allows himself to be manipulated, I see him as angry and misguided and trying to do the right thing but unable to resist the allure of the gorgeous Black Widow. Even more amusing his how completely clueless Iron Man is to all of this; he doesn’t even realise Black Widow is involved in the plot, treats Hawkeye as a mere annoyance, and is more concerned about his personal troubles than the archer’s threat. In the end, this was an entertaining introduction to Marvel’s most famous archer, who would go on to show additional layers to his personality and motivations in subsequent appearances, and I think the main takeaway from this was the tragedy that Hawkeye wished to be a celebrated hero like Iron Man and was quickly and easily led down a darker path mere moments into his debut as a costumed avenger.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you read “Hawkeye, The Marksman!” when it was first published? If so, what did you think to it at the time and what were your thoughts on Hawkeye? Did you enjoy his portrayal as a spurned archer looking for adulation or did you find him perhaps a bit corny? What did you think to Stark’s personal drama and did you enjoy Black Widow’s repeated attempts to defeat Iron Man during this time? What are some of your favourite Hawkeye stories and moments? Do you think he’s earned his place as an Avenger or do you find him to be a bit pointless? Whatever your thoughts on Hawkeye, feel free to sign up and leave them below or drop a comment on my social media, and check out my review of his Disney+ series.

Talking Movies [A-Day]: Avengers: Age of Ultron


Having introduced comic readers to a whole host of colourful characters, in September of 1963 the legendary duo of Stan Lee and Jack Kirby brought together six of Earth’s mightiest heroes to form the Avengers. A super team like no other, with a constantly rotating roster, the Avengers has become the premier team of Marvel Comics and, thanks to the team and its individual members forming the backbone of the Marvel Cinematic Universe (MCU), have become an unbelievably popular and successful franchise in their own right.


Talking Movies

Released: 1 May 2015
Director: Joss Whedon
Distributor: Walt Disney Studios Motion Pictures
Budget: $365 million
Stars: Robert Downey Jr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, James Spader, Elizabeth Olsen, Aaron Taylor-Johnson, and Paul Bettany

The Plot:
After finally defeating the last remnants of Hydra, Tony Stark/Iron Man (Downey Jr), Steve Rogers/Captain America (Evans), Doctor Bruce Banner/The Hulk (Ruffalo), Thor Odinson (Hemsworth), Natasha Romanoff/Black Widow (Johansson), and Clint Barton/Hawkeye (Renner) face an even greater threat when Stark and Banner’s prototype for an artificial intelligence, Ultron (Spader), becomes self-aware and concocts a diabolical scheme to unleash an extinction-level event upon the world.

The Background:
After the unprecedented success of Avengers Assemble/The Avengers (Whedon, 2012), the MCU was well and truly on its way to becoming an unstoppable multimedia juggernaut. Following the conclusion of that film, the MCU firmly entered its second phase and director Joss Whedon stated early on that his intention for an Avengers sequel was to tell a more personal and intimate story rather than necessarily being bigger and better. Taking inspiration more from the likes of Star Wars: Episode V: The Empire Strikes Back (Kershner, 1980) than the Marvel Comics story of the same name, the script initially included the first appearance of Carol Danvers/Captain Marvel, and many were surprised to see Whedon focus on Ultron after teasing Thanos (Damion Poitier) the end of the first film. The script also saw the introduction of Wanda (Olsen) and Pietro Maximoff/Quicksilver (Johnson), who both Marvel Studios and 20th Century Fox were allowed to include in separate film franchises thanks to a legal loophole. Tensions were frayed between Whedon and Marvel’s executives, however, as they disagreed with some of his scenes and choices, which eventually led to Whedon parting ways with the studio. Although Avengers: Age of Ultron made about $100,000 less than its predecessor, it still grossed $1,404 billion at the box office. Critical reception wasn’t quite as universally positive as with the first film, however; while the effects and action were praised, many were disappointed with how overstuffed and mundane the film was.

The Review:
Much has changed in the MCU since the conclusion of Avengers Assemble; not only has the entire world seen that extraterrestrial threats lie beyond our planet, but all manner of strange and powerful cosmic artefacts and concepts are now loosed upon the Earth. One positive that came out of the whole debacle, though, was the formation of the Avengers themselves and, since the last film and the fall of the Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.), the team have dedicated themselves to tracking down Loki Laufeyson’s (Tom Hiddleston) sceptre and erasing the last remnants of the clandestine organisation Hydra, which has secretly been manipulating events behind the scenes ever since World War Two.

Inspired my Loki’s sceptre, Stark convinces Banner to help him create Ultron.

The retrieval of the sceptre is a cause for much celebration within the team as it marks the end of a lengthy campaign against Hydra, but it leads into not only all of the film’s subsequent problems but also opens the MCU up to an ever greater threat lurking deep amongst the stars. Within the sceptre, Tony Stark and Bruce Banner (who had bonded over their keen love for science in the first film) discover a powerful gem, just one of the many Infinity Stones, that holds the key to completing Stark’s plans for a global defence program known as “Ultron” that he is desperate to deploy to protect the world form extraterrestrial threats. Shaken by his experiences in the last film, where he saw just how outgunned and outmatched the Earth was compared to the vastness of the galaxy, Stark is keen to build a metaphorical suit of armour around the world and encourages Banner to assist him in completing Ultron despite the doctor’s reservations. Banner, still a timid and cautious fellow, argues the moral and potentially dangerous consequences of giving birth to an artificial intelligence without the approval of the entire team and without proper testing, but is persuaded to co-operate by the force of Stark’s conviction.

Banner and Romanoff struggle with their pasts, natures, and feelings for each other.

Although in a far more comfortable position within the team and with himself, Banner is still subject to the whim of his green-skinned alter ego. Thanks to his ability to summon the Hulk at will, Banner is a valuable asset to the Avengers out in the field and, in an unexpected turn of events, the Hulk is easily subdued and calmed down by the influence of Romanoff. When in his more stable and timid human form, Banner has a close relationship with Romanoff that sees him clearly besotted by her but missing or ignoring her obvious flirtatious advances. He explains this as him being aware that Romanoff flirts with everyone, and the obvious interpretation is that he is afraid to act on his feelings because of his monstrous passenger, but he later reveals that he is holding himself back because he cannot offer her anything resembling a “normal” life. After the accident that first triggered his transformation, Banner has been rendered sterile and potentially dangerous by the sheer amount of Gamma radiation coursing through his veins, to say nothing of the fact that he can’t allow himself to get too excited for fear of triggering a transformation, burdening the doctor with a tragic loneliness no matter how close he is to his team mates. While it may seem strange that Romanoff is suddenly so infatuated with Banner, he represents a sense of kindness and stability that is often missing from her chaotic and deceptive life; even when Banner is explaining himself to her, she opens up to him and reveals some of the horrendous experiences she suffered in the “Red Room” while being trained as an efficient and ruthless spy. Since this also involved a full hysterectomy, she also sees herself as inadequate and monstrous since she’s not only done countless despicable things in the past but is so pained by her inability to be a “real” woman that she feels she can’t be anything more than the famed Black Widow.

While Thor’s side quest derails things somewhat, it’s great to see Barton’s personality fleshed out.

For Thor, recovering the sceptre spells the end to his brother’s impact upon his beloved adopted world; since the last film, Thor has built quite the rapport with his team mates and their extended families and revels with them as he would conquering Asgardian comrades. Thor is enraged, however, when he sees Loki’s magic perverted into Ultron and very nearly comes to blows with Stark over his reckless actions in meddling with cosmic powers beyond his comprehension. Thor’s concerns over the gem are only exacerbated after his encounter with Wanda, which causes him to suspect a greater threat and seek out his friend, Doctor Erik Selvig (Stellan Skarsgård), to accompany him on a short side quest to learn more about the mysterious gems that keep popping up in his life. After spending the majority of the first film under Loki’s control, Barton gets far more screen time and relevance in the sequel than I think many people expected; rather than focusing on his relationship with Romanoff, the film initially suggests that he may be a double-agent or keeping his own secrets from the team, but dramatically reveals that he has a wife and kids that he has kept quiet from everyone except for Romanoff. Protected and hidden from official records by former S.H.I.E.L.D. director Nick Fury (Samuel L. Jackson), Barton’s family provides refuge for the wounded and exhausted team after their encounter with the twins and goes a long way to fleshing out Barton’s character beyond just being “the guy with the arrows”.

Tensions rise between Steve and Stark as both characters have very different methods and ideologies.

Finally, there’s Captain America himself, Steve Rogers. Still very much the field leader and default commander of the superhero team, Steve has committed himself to tracking down and eradicating Hydra’s influence as part of the guilt he feels over not finishing the job back in World War Two. Steve’s old-fashioned sensibilities are a source of much amusing banter within the team, but his pure heart, dedication, and moral integrity mean that he’s devoted to saving and protected all lives above anything else. Indeed, he’s so pure-hearted that he’s even able to ever so slightly budge Mjölnir during a friendly competition, is the only one of the team not driven into a paranoid frenzy by Wanda’s cruel visions, and, of course, takes the moral high ground when he sees the consequences of Stark’s arrogance first stumble to life. Burned by the events of Captain America: The Winter Soldier (Russo and Russo, 2014), Cap is understandably annoyed that Stark would go behind their backs and unleash a potentially world-ending threat upon the world, but is also fair and just enough to try and convince the twins of Ultron’s threat and accept them into the team despite the destruction their actions have caused.

Ultron twists Stark’s vision for peace and personality quirks into a megalomaniacal plot for extinction.

As for Ultron…Like a lot of people, I was surprised to see the second Avengers film make a sudden left turn towards Marvel’s famous cyborg maniac, but curious to see how the character would be brought to life. Since Doctor Hank Pym (Michael Douglas) would not make his debut until the following year, the film alters Ultron’s origins and has it be a creation of Stark and Banner (though mainly Stark); personally, I feel like another redraft of the script could have restored Pym as Ultron’s creator and introduced the character earlier, perhaps with Pym also taking the place of Doctor Helen Cho (Claudia Kim) and helping to further set up his antagonism towards Stark and the Avengers in Ant-Man (Reed, 2015). Regardless, I can understand the change, and Ultron’s depiction as this conceited, self-righteous, boastful villain makes for one of the MCU’s most loquacious and enigmatic antagonists if nothing else. Positioned as a dark reflection and extreme perversion of Stark’s desire to protect the world, Ultron learns of humanity’s tendency towards war and self-destruction by first absorbing Stark’s resident A.I., Just A Rather Very Intelligent System (J.A.R.V.I.S.; Paul Bettany) and then trawling the internet. It concludes, as many sentient A.I.’s do, that humanity can only be truly united and learn to survive and prove their worth after suffering from near extinction and sets in motion a dual plot to spread his influence through multiple, disposable copies of itself while forced Cho to construct a near-invulnerable synthetic body and to turn the ravaged nation of Sokovia into a gigantic meteor to drop onto the planet and bring humanity to the brink of desperation…and greatness.

The twins cause havoc with the Avengers before reluctantly joining forces with them to oppose Ultron.

Ultron is assisted by the twins Wanda and Pietro, who were subjected to bizarre and horrendous experiments by Baron Wolfgang von Strucker (Thomas Kretschmann), a Hydra commander who unfortunately gets very little screen time before being killed offscreen but who leaves a lasting impact in his influence on the twins. While the brash and snarky Pietro exhibits superhuman speed, Wanda wields a dangerous and unpredictable red energy that allows her to fire off psionic bolts and manipulate the minds of others. It’s thanks to her influence that Stark sees a vision of the Avengers left decimated and the Earth vulnerable to alien invasion (which compels him to create Ultron in the first place), that Romanoff is forced to relive her traumatic experiences in the Red Room, that Thor learns of the cosmic disaster threatened by the Infinity Stones, and that the Hulk goes on a mindless rampage through Johannesburg. Wanda and Pietro have their own vendetta against Stark that causes them to willingly assist Ultron; Stark’s weapons caused the deaths of their parents and left them trapped, fearing their own death, for two days when they were children. However, when Wanda learns that Ultron’s plan extends beyond killing Stark and destroying the Avengers and into worldwide genocide, the twins turn against the maniacal machine and reluctantly join forces with the Avengers for the action-packed finale.

The Nitty-Gritty:
It’s true that Avengers: Age of Ultron had a lot to live up to; not only was Avengers Assemble a massive, massive box office event, but it changed the course of the MCU and both comic book films and cinema forever. Add to that the decision to title the film after one of the biggest and most complex crossovers in then-recent Marvel Comics and the film definitely had a bit of an uphill battle; I get that titling films “Age of…” was a common practice in Hollywood for a while, and the desire to capitalise on Brian Michael Bendis’ story arc, but I would have picked Ultron Unleashed instead, which would have both paid homage to the comics while also slightly lowering audience’s expectations somewhat. Still, the banter and wit on offer is just as entertaining and compelling as in the first film; the team give Steve a hard time for calling out Stark’s bad language, Thor’s mission report on the Hulk’s actions against Strucker’s forces is amusing (as is his banter with Stark regarding their girlfriends), and it’s nice just see the team relaxing and socialising outside of battle.

While the action is big and exciting, the film primarily sows the seeds of dissension between the Avengers.

I think the film gets a bit of a bad reputation because it opts for a more subdued and interpersonal story rather than necessarily being bigger and better; the film starts basically where the first film left off, with the Avengers operating as a co-ordinated and efficient team, sharing banter and doing their parts individually and collectively in the assault on Strucker’s fortress. It took basically the entirety of Avengers Assemble to get these big egos and characters to work through their issues and set aside their personal grievances for the greater good, so to see them in action as a fortified unit is incredibly gratifying as a comic book fan. When Ultron first reveals itself to the team, they instinctively leap into action and the question isn’t whether they can fight together, but whether they can co-exist and stay on the same page regarding the greater threats. While Stark’s actions in trying to pre-empt their defences against these dangers were irresponsible, his motivations are entirely understandable and he was right: the Earth did need to prepare itself for a greater threat, but arguably they would have been in a better position to do that if Stark had consulted with his team mates first. As angry as Thor is with Stark for meddling in cosmic powers, Steve is equally disappointed in his friend’s recklessness and the first hints of friction between the two are sowed in this film; while Steve fully believes that the team is best served working together, win or lose, Stark would rather prepare for the best-case scenario and have contingencies in place, no matter how morally questionable they are.

When Wanda screws with the Hulk, Stark is forced to bust out the awesome Hulkbuster mech!

This is further evidenced in the dramatic and exciting depiction of “Veronica”, a massive mech-suit designed by Stark and Banner specifically to combat the Hulk. A contingency neither wish to see put into action, Stark is forced to call upon this “Hulkbuster” armour when Wanda screws with Banner’s mind and sends the Hulk on a mindless rampage. Although we don’t get to see Banner’s nightmarish vision, we can assume that it must be either incredibly devastating, traumatic, or tragic based on what Stark, Cap, Thor, and Romanoff are forced to relive, and it’s most likely something that ties into the fear Banner and the Hulk have of each other. Either way, the rest is an absolutely massive and incredible impressive brawl between the Hulk and the Hulkbuster; easily Stark’s biggest and most powerful armour yet, the Hulkbuster quickly repairs and rearms itself when damaged by the Hulk and is more than capable of going toe-to-toe with the Green Goliath, however it’s still heavily implied that the suit was designed to quickly overpower and subdue the Hulk, something easier said than done considering the Hulk’s ever-growing rage. Indeed, it’s only after a prolonged beatdown and having a building dropped on his head that Wanda’s influence is finally shaken for the Hulk, who’s left visibly distraught at the damage and destruction he has wrought.

Although the Hulk doesn’t get to talk, the film is full of fun cameos to set up the new Avengers team.

Sadly, despite the Hulk clearly uttering words in Avengers Assemble, the Green Goliath returns to being a largely mute creature who communicates only in growls, grunts, and facial expressions; indeed, he kind of fades into the background by the finale before jetting off to places unknown in order to keep Romanoff safe from his violent nature. While I was quite happy with the amount of Hulk action on offer in the film, it is disappointing that he wasn’t depicted as talking here as I was expecting him to be fleshed out more in that regard. Age of Ultron does, however, have time for a few fun cameos from Colonel James “Rhodey” Rhodes/War Machine (Don Cheadle) and Sam Wilson/The Falcon (Anthony Mackie), who officially join the Avengers by the end of the film, and provides a slightly bigger role for former S.H.I.E.L.D. agent Maria Hill (Cobie Smulders), who largely replaces Phil Coulson (Clark Gregg) and even Fury as the Avengers’ go-to liaison, and all of these characters (except, obviously, for Coulson) play a part in the final battle against Ultron. Another criticism of the film was the shoe-horning in of unnecessary world-building, specifically Thor’s “vision quest” that seems to serve little purpose other than reminding audiences of Thanos’ (Josh Brolin) looming threat. Personally, I never had much of a problem with this as it made Thor pivotal to the creation of the Vision (Bettany); furthermore, much of the film is devoted towards further exploring Stark’s guilt and desperation regarding his friendship with the team and his desire to protect the world, all of which paid off beautifully as the MCU progressed.

Hawkeye forms a bond with Wanda and seems destined to die but it’s Pietro who takes one for the team.

Thanks to being revealed to be a loving and devoted father and husband, Hawkeye slips naturally into the role of a mentor to the twins and the heart of the team; he initially has an antagonistic rivalry with the condescending Pietro but is the only one of the team to anticipate and counteract Wanda’s mind control. When the twins join the team, he helps to integrate them into the Avengers’ code and nowhere is this more evident in the pragmatic and honest pep talk he gives to Wanda, who is overwhelmed by the chaos and insanity of the battle against Ultron’s drones. This perfectly encapsulates not just Barton’s moral centre but also the entire point of the Avengers as a team and a concept: no matter how crazy things get or how unwinnable the odds seem, they shake it off and keep fighting until the very end, regardless of the outcome. Cap reinforces this philosophy when he tells the team: “If you get hurt, hurt ‘em back. If you get killed, walk it off”, and these words have a significant impact not only in encouraging Wanda not to hold herself back in the battle against Ultron but also in Pietro’s decision to be selfless for the first time in his life. Seeing Barton using himself as a human shield to try and protect an innocent child, Pietro rushes in and saves them both at the cost of his own life, a random and absolutely unexpected (and potentially unnecessary) sacrifice that continues to be a little confusing. It appears Whedon decided to kill off Pietro because it would have been too obvious to off Barton, a character who had been set up throughout the entire film as basically doomed and living on borrowed time, but keeping him alive ended up paying off on a longer story arc for the character within the MCU.

Ultron aims to transfer itself into the perfect body, but its Vision grows to oppose and destroy it.

Ultron begins life as a confused and disembodied artificial intelligence; as it quickly absorbs information, its curiosity turns to contempt and it soon perverts Stark’s desire for “peace in our time” to the extreme. It regards Stark’s other creations as mere puppets and is quickly able to learn everything about the team, and the world, and evade true destruction by escaping through the internet and transferring its consciousness halfway across the world into a slew of disposable bodies. As a fully CGI character, Ultron is certainly impressive; the only real complain I have is that I don’t think it needed to have lips. Thankfully, Spader provides an enigmatic and surprisingly layered performance; Ultron fully believes that its actions are just and truly cares for the twins, and is unsettling in its unpredictability as it can be charismatic and almost kind-hearted one minute and then a complete psychopath the next. To help position itself as an unstoppable overlord in its new world, Ultron has Cho create a perfect synthetic body; however, the Avengers are able to intercept this form and, despite concerns about Stark’s recklessness, infuse it with J.A.R.V.I.S.’s consciousness, Thor’s lightning, and the mysterious Mind Stone that was contained within Loki’s sceptre, thus giving birth to a new artificial lifeform dubbed the Vision. Understandably cautious and wary of this new individual, the Avengers’ fears of the Vision’s intentions are immediately set aside when he proves his mettle by being capable of wielding Mjölnir; while I can understand the argument that the Vision’s introduction is a bit rushed and his powers somewhat ill-defined, having him grab Mjölnir like it’s nothing was a great shorthand to tell us everything we needed to know about the character at that point, and he plays a pivotal role in paralleling Ultron’s destructive megalomania with a more pragmatic and reasonable logic.

The Avengers stop Ultron and avert worldwide disaster, unaware of an even greater threat on the horizon.

Having used Stark’s technology, Cho’s research, the power of the Mind Stone, and the near-limitless potential of Wakanda’s Vibranium, Ultron succeeds in lifting Sokovia high up into Earth’s atmosphere. Its inexhaustible army of drones may be simply disposable minions for the Avengers to tear apart, much like the Chitauri, but the stakes are far bigger this time around as the Avengers are forced to hold off Ultron and its copies while also trying to slow or safely stop its make-shift meteor, all while trying to evacuate the entire city onto Fury’s repurposed Helicarrier. They’re successful largely thanks to Wanda who, devastated by her brother’s death, decimates Ultron’s drones and crushes its primary body, ripping its heart out for good measure before the Hulk sends it flying off the floating city. Thanks to Stark and Thor, the landmass is overloaded and blasted to smithereens before it can pose a threat, and Ultron’s final form is seemingly eradicated forever following a philosophical debate with its “son”, the Vision. In the aftermath, Thor returns to Asgard to investigate the Infinity Stones and Stark officially leaves the team to follow through with the promise he made to Virginia “Pepper” Potts (Gwyneth Paltrow) in Iron Man 3 (Black, 2013) and Cap and Romanoff move to a new Avengers facility far outside of the city where they prepare to train a new team of Avengers. However, while all seems well between the team, the Mad Titan, Thanos, arms himself with a glistening gauntlet and prepares to take care of matters personally.

The Summary:
I remember being somewhat underwhelmed by Avengers: Age of Ultron when I first saw it at the cinema; it wasn’t that it was bad, or necessarily worse than Avengers Assemble, but it didn’t really seem to be much better than its predecessor. Avengers Assemble was such a big event because it was the first time these characters were coming together onscreen and I had waited so long so see comic book characters in a shared universe rather than being restricted to isolated worlds, so it always gets extra credit for me due to that and the power of nostalgia. Being just as good as one of the MCU’s best films is nothing to be ashamed of, however, but I think I, like many audiences, was just expecting something a little more substantial from the team’s next big outing. Still, it’s definitely gotten better over time and remains an action-packed spectacle that ties into Phase Two’s themes of challenging the status quo of the MCU and lays the first hints of dissension within the Avengers. Seeing the Avengers in full force never gets old; as much as I enjoy the direction the MCU took, part of me would have liked to see one more film of them as a cohesive unit with the resources of S.H.I.E.L.D. behind them, possibly battling the Masters of Evil, simply because I enjoy the banter and teamwork of the Avengers so much and it’s always a spectacular moment whenever that rousing theme kicks in and the team appears onscreen.

While a bit bloated, Age of Ultron is a stronger entry in the MCU than you might remember.

While it’s not a perfect film by any means, Age of Ultron introduces a lot of new elements to the MCU and makes an impact with its entertaining action scenes; it’s still amazing seeing Iron Man don the Hulkbuster armour, Pietro’s superspeed and Wanda’s freaky magic add some unique pizazz to the film’s events and finale, but the film really makes its mark with the introduction of the Vision and Spader’s performance as Ultron. A complex and psychotic villain who is all the worst parts of Stark dialled up to eleven, Ultron is both menacing and amusing thanks to its overabundance of personality and snark, and is perfectly juxtaposed by the more life-affirming and analytical Vision. Overall, I feel it’s an under-rated entry in the MCU that is more than deserving of a little more respect and credibility; sure, it’s a little overstuffed and introduces a lot of new elements but, as Ultron states, “with the benefit of hindsight” I think there’s a lot on offer in Avengers: Age of Ultron and that it works wonders for encapsulating the spirit and integrity of the team, perfectly setting them up for their eventual disassembling and climatic reassembling against their greatest every threat, so I’d say it’s a more than worthy follow-up despite some flaws here and there.

My Rating:

Rating: 4 out of 5.

Great Stuff

Are you a fan of Avengers: Age of Ultron? How do you feel it holds up against the first film, and the other Phase Two movies? Were you disappointed with the depiction of the Hulk, Banner’s romance sub-plot with Romanoff, and Pietro’s sudden and dramatic death? What did you think to the new characters introduced to the team in this film, specifically Wanda and the Vision? Where does Ultron rank amongst the Avengers’ villains for you and what did you think to the alterations made to his origin, and Spader’s performance? Would you have liked to see one more Avengers movie before the team splintered and, if so, which characters would you have liked to see added to the team? How are you celebrating the debut of the Avengers today and what are some of your favourite Avengers storylines, characters, or adaptations? Feel free to sign up and share your thoughts and opinions on the Avengers in the comments below, or drop me a line on my social media.

Screen Time [Multiverse Madness]: What If…? (Season One)


In September 1961, DC Comics published “Flash of Two Worlds” (Fox, et al), a landmark story that brought together two generations of the Flash: the Golden Age Jay Garrick and the Silver Age Barry Allen thanks to the concept of the multiverse, an infinite number of parallel universes that allowed any and all stories and characters to co-exist and interact. Marvel Comics would also adopt this concept and, to celebrate the release of Doctor Strange in the Multiverse of Madness (Raimi, 2022) this month, I’ve been both celebrating the Master of the Mystic Arts and exploring the Marvel Cinematic Universe’s (MCU) equivalent of the multiverse every Sunday of May.


Air Date: 11 August 2021 to 6 October 2021
Network: Disney+
Stars: Hayley Atwell, Chadwick Boseman, Samuel L. Jackson, Benedict Cumberbatch, Mark Ruffalo, Michael B. Jordan, Chris Hemsworth, Ross Marquand, and Jeffrey Wright

The Background:
As a big comic book fan, it’s been absolutely amazing seeing the MCU become a multimedia juggernaut and some of Marvel Comics’ most beloved characters and concepts come to life on screen. Although Marvel Studios dabbled in television ventures with the likes of Agents of S.H.I.E.L.D. (2013 to 2020) and their Netflix shows, they really doubled down on TV productions for the MCU’s fourth phase to produce content for their parent company’s streaming service, Disney+. With MCU head honcho Kevin Feige behind them, the Disney+ shows aimed to maintain and expand the ongoing continuity of the MCU, but I don’t think anyone could have predicted that Marvel Studios would delve so deeply into the multiverse that we’d seen an adaptation of What If…? What If…? began life as a semi-consistent series of hypothetical, often light-hearted (or downright dark), stories that presented Marvel heroes and storylines with subtle (or major) changes. The Disney+ show followed this format and recontextualised the premise as an animated anthology series that would explore what the MCU would be like if characters or events had unfolded differently. The show’s animation was headed by Stephan Franck and sported a cel-shaded design that emphasised hyper-realism; as the MCU was officially exploring the concept of the multiverse, episodes could be part of the franchise’s overall canon and many recognisable faces, names, and voices returned to put a new spin on their iconic roles; however, although voice recording was able to continue remotely during the COVID-19 pandemic, this production sadly marked the final performance of the late Chadwick Boseman as T’Challa/Black Panther. What If…? was received extremely well and the series was praised as a love-letter to the fans; despite some reservations about the format and presentation, reviews were primarily positive and spin-offs were quickly announced as either being in production or on the cards. Crucially, the multiversal scope of the series would be revisited in the live-action MCU films and characters and concepts from the show even seem set to cross over into the main MCU canon going forward.

The Plot:
From beyond the multiverse, the cosmic being known as Uatu the Watcher (Wright) observes as the events of the MCU unfold differently, resulting in Peggy Carter (Atwell) becoming Captain Carter, Doctor Stephen Strange (Cumberbatch) becoming a force for evil, a zombie infection running rampant, and T’Challa (Boseman) becoming Star-Lord. However, when a version of Ultron (Marquand) acquires the Infinity Stones and threatens the entire multiverse, the Watcher must break his oath of non-interference to assemble a heroic force capable of fending off this threat.

The Review:
Because of the nature of the series, I think it’d be much better to look at each individual episode, what they do and how they work by themselves, and then talk about some overall themes and give my opinion on the entire concept down in the summary. The first season of What If…? is a nine-episode series of animated adventures that examine familiar characters and events in the MCU but change things about in subtle, or major, ways to create entirely new stories as part of the MCU multiverse. These alternate realities are observed by the enigmatic Watcher, a cosmic being bound only to observe and never directly interfere, and who acts as the narrator of the show. The Watcher’s opening narration explains the basics of the multiverse; as we were told in Avengers: Endgame (Russo and Russo, 2019), time and reality in the MCU is not a single, linear, fixed path. Instead, multiple timelines and alternate universes exist, with the deviations occurring from different decisions being made at key moments in time, however big or small. In this regard, time is less like a line and more like a river, with an infinite number of paths trailing off all over the place, and the Watcher acts as our impassive guide to this vast multiverse. The Watcher also serves as our narrator, quickly catching us up on the events preceding the episode and explaining when, where, and how each divergent timeline was created; however, he has taken a solemn vow to never interfere in the events he witnesses, no matter how gruesome or extreme they are.

Peggy takes Steve’s place and is forced to make the ultimate sacrifice to stop Hydra’s interdimensional beast.

The series kicks off with “What If…Captain Carter Were the First Avenger?” (Andrews, 2021), essentially a retelling of Captain America: The First Avenger (Johnston, 2011). Unlike in the original timeline, Strategic Scientific Reserve (SSR) Agent Peggy Carter chooses to stay and watch on the ground as skinny, ill-bodied Private Steve Rogers (Josh Keaton) prepares to become a super soldier. However, when the Nazi sleeper agent attacks the experiment this time around, Peggy manages to keep him from escaping with a sample of the serum but Steve is wounded, so Peggy ignores the orders of her commanding officer, John Flynn (Bradley Whitford), and voluntarily becomes enhanced to the peak of human physical conditioning before the experiment is lost forever. Promoted to head of the SSR, Flynn is outraged at the result; disgusted that the super soldier serum was wasted on a woman, he refuses to allow Peggy to actively participate in the war, much less on the front line, out of sheer prejudice, much to her chagrin and fury. As before, Hydra figurehead Johann Schmidt/The Red Skull (Marquand) seeks to usurp Adolf Hitler and claim victory for himself with the mysterious and all-powerful Tesseract. Flynn, however, is unimpressed by the threat and unwilling to risk even one man, let alone an entire platoon, on recovering the cube; luckily, inventor Howard Stark (Dominic Cooper) believes so strongly in the Tesseract’s threat that he furnishes Peggy with a striking Union Jack-style costume and a familiar Vibranium shield so that she can single-handedly recover the Tesseract from Schmidt’s Hydra colleague, Doctor Arnim Zola (Toby Jones), decimating an entire convoy of Hydra’s soldiers with efficiency and glee and earning herself an official promotion to “Captain Carter”. Although he lost his best shot at fighting alongside his friend, Sergeant James Buchanan “Bucky” Barnes (Sebastian Stan), Steve is fully supportive of Peggy’s newfound strength and abilities and only too glad to pilot Stark’s Tesseract-powered “Hydra Stomper” armour. However, following an action-packed montage, Steve is apparently lost during a familiar assault on an armoured train; though grief-stricken, Peggy forces information out of Zola and leads an all-out assault against the Red Skull’s fortress, where they find Steve alive but are too late to stop the Red Skull from opening a dimensional rift with the Tesseract. The tentacles of a gigantic, interdimensional, Lovecraftian creature breach the portal, killing Schmidt and threatening all life on Earth; Peggy and Steve fend off the beast as Stark tries to shut down the portal, but Captain Carter is forced to sacrifice herself to the unknown by physically forcing the creature through the rift. The story then skips ahead to find the Tesseract being reactivated, spitting Peggy and the remains of the beast’s tentacles out into a Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.) facility where she meets Director Nick Fury (Jackson) and Agent Clint Barton/Hawkeye (Jeremy Renner) and learns the bittersweet news that the Allied Forces won the war but she is now seventy years in the future, and thus forever cut off from her friends and loved ones.

T’Challa is a galaxy-renowned force for good who has a positive influence on even the Mad Titan!

While the first episode arguably played things a little safe, we really see the potential of a What If…? series with the second episode, “What If…T’Challa Became a Star-Lord?” (Andrews, 2021), which wildly deviates from the story of Guardians of the Galaxy (Gunn, 2014). Young T’Challa (Maddix Robinson) longed to explore beyond Wakanda but was shielded from the chaotic outside world by his beloved and overprotective father, T’Chaka (John Kani), only to be abducted due to a mistake by Yondu Udonta’s (Michael Rooker) subordinates. Surprisingly, he was excited at embarking on adventures throughout the cosmos with the Ravagers and, while T’Challa doesn’t possess the Black Panther’s near-superhuman abilities, he sports all of Peter Quill’s (Brian T. Delaney) gadgets in addition to his Wakandan fighting prowess. His greatest assets, however, are his charisma, diplomacy, and reputation as a Robin Hood-type figure. Indeed, T’Challa is far more competent, notorious, and respected than his mainstream MCU counterpart; not only does Korath the Pursuer (Djimon Hounsou) know who he is, he views sparring with Star-Lord as the greatest honour and willingly joins his crew. T’Challa’s positive influence means the Ravagers put their skills towards helping others rather than for personal reward, thus sparing Drax the Destroyer’s (Fred Tatasciore) family and even convincing Thanos (Josh Brolin) that his destructive aspirations weren’t the answer to the galaxy’s problems! Touched by T’Challa’s mission to save others after the presumed destruction of Wakanda, Nebula (Karen Gillan), now a far less violent and far more beautiful woman, proposes a heist to steal the Embers of Genesis, a cosmic dust capable of ending galactic hunger, from Taneleer Tivan/The Collector (Benicio del Toro). While sneaking around the Collector’s museum, T’Challa finds a Wakandan spacecraft and is angered to find that Yondu lied to him about Wakanda in order to help him realise his true calling as an adventurer. The two reconcile in the best way possible: by teaming up to fight with this much more formidable version of the Collector, who is enhanced by weapons, technology, and items retrieved from some of the MCU’s most powerful and prominent individuals and races. Thanks to their teamwork, the Collector is disarmed and left at the mercy of his captives, and T’Challa forgives Yondu’s deception before reuniting with T’Chaka and his people in Wakanda, bringing his two families together in celebration over their mutual friend. Across the world, however, a greater threat awaits when Ego (Kurt Russell) comes looking for his son, here a mere Dairy Queen employee.

Pym is revealed as the culprit but, after he’s apprehended, Loki usurps his threat and conquers the world!

“What If…the World Lost Its Mightiest Heroes?” (Andrews, 2021) takes us back to the middle of Iron Man 2 (Favreau, 2010) and Nick Fury and Natasha Romanoff/Black Widow’s (Lake Bell) latest effort to recruit Tony Stark/Iron Man (Mick Wingert) to the Avengers Initiative. Fury is horrified when his attempt to stave off Stark’s palladium poisoning apparently has the unexpected side effect of killing the would-be Avenger; this tragedy is quickly followed by Thor Odinson (Hemsworth) being accidentally killed by Hawkeye’s errant arrow and the archer later being found dead while locked in an impenetrable S.H.I.E.L.D. cell. Fury suspects that his recruits are being targeted by an unknown party, and charges Natasha to escape Brock Rumlow’s (Frank Grillo) custody and make contact with Doctor Betty Ross (Stephanie Panisello). Though initially distrustful of Natasha due to her association with those who’ve hounded her friend, colleague, and former lover, Doctor Bruce Banner/The Hulk (Ruffalo), Betty is convinced to take a closer look at the injector used on Stark and theorises that a microscopic projectile fired from the needle killed the superhero. Hungry for blood after learning of Hawkeye’s death, Natasha agrees with Fury’s theory that their killer is targeting Avengers recruits; unfortunately, General Thaddeus “Thunderbolt” Ross (Mike McGill) arrives looking to arrest Banner and sparks his transformation into the rampaging Hulk as in his solo film. However, the seemingly immortal Green Goliath also falls victim to the mysterious killer when he violently explodes from the inside out, and things escalate even further when Loki Laufeyson (Tom Hiddleston) arrives looking to avenge Thor’s death. Fury manages to buy himself one day to solve Thor’s murder on the promise of delivering the culprit to the God of Mischief and, when Natasha finds that a dead agent’s credentials were used to access S.H.I.E.L.D.’s database, she’s brutally beaten to death by an unseen assailant, and only able to tell Fury that all the deaths are relating to “hope”. This, however, is enough to piece together the perpetrator’s true identity: Doctor Hank Pym (Michael Douglas), who targeted Fury’s recruits in the guise of the size-altering Yellowjacket after his daughter, Hope van Dyne (Evangeline Lilly), died while working for S.H.I.E.L.D. A broken, bitter, twisted old man, Pym blames Fury and has become a deranged killer due to his grief and anger. However, Pym and his tech are outmatched when Fury is revealed to be Loki in disguise but, after Pym is defeated and taken into Asgardian custody, Loki double-crosses Fury and declares himself ruler of humanity. To combat this threat, Fury gets back to work assembling his super team, starting with calling Carol Danvers/Captain Marvel (Alexandra Daniels) back to Earth and uncovering Captain America’s frozen body.

A grief-stricken Dr. Strange finds he cannot save his love no matter how much he alters the past.

The show shifts over to the world of magic and mysticism for “What If…Doctor Strange Lost His Heart Instead of His Hands?” (Andrews, 2021), which presents a world where Dr. Strange and Doctor Christine Palmer (Rachel McAdams) are still a couple in a loving relationship. Fully supportive and enamoured by Dr. Strange, Christine encourages his ego and his skills as a surgeon, but sadly her influence doesn’t extend to his driving skills. However, in this world, Dr. Strange is relatively unharmed from the car crash that took his MCU counterpart’s hands but is left grief-stricken when Christine dies as a result of his negligence. In a bid to fill the void in his life, and his heart, Strange travels the world and, once again, ends up studying the mystic arts at Kamar-Taj under the tutelage of the Ancient One (Tilda Swinton). Like his mainstream counterpart, Strange becomes the Master of the Mystic Arts after the Ancient One’s death and successfully bargains with the Dread Dormammu (Cumberbatch), but remains preoccupied with the mistakes of his past and the promises offered by the Eye of Agamotto’s time-bending abilities. Haunted by memories of happier times with Christine, Strange ignores the warnings of the Ancient One and his manservant, Wong (Benedict Wong), and uses the Eye to place his current consciousness into the body of his past self. Unfortunately, the tragedy still occurs no matter how safely he drives, which route he takes, or even his refusal to go to the award speech as Christine dies again and again whether he’s there or what he does. Dr. Strange’s anguish at being unable to save Christine isn’t helped by the Ancient One’s explanation that her death cannot be averted as it would create a potentially universe-destroying time paradox (if Strange prevents her death, he won’t become a sorcerer and be able to go back and save her).

Strange Supreme saves Christine, but only briefly and at the cost everything that ever is or was in his reality.

Refusing to believe that Christine is fated to die, and angered at the Ancient One’s refusal to help him break this “absolute point” in time, Dr. Strange uses the Eye to flee from the confrontation and consult the ancient tomes of the Lost Library of Cagliostro. There, he meets O’Bengh (Ike Amadi) and learns that one can potentially gain the power he requires by absorbing magical beings; thus, Dr. Strange conjures a variety of demonic, Lovecraftian, and magical creatures (including gnomes, familiars, dragons, and even the octopus-like creature Captain Carter fought). When they won’t willingly share their power, he resolves to forcibly take it, and quickly becomes obsessed with gaining more and more magical power from these entities over the course of centauries to become “Strange Supreme”. As he does so, he grows increasingly monstrous and takes on more of their attributes, but is shocked to learn from O’Bengh that he’ll never be powerful enough to achieve his dreams due to the Ancient One using magic from the Dark Dimension to split him in two and create two concurrent timelines. His other half, who took Wong’s advice and moved on from Christine’s death, is charged by an echo of the Ancient One to oppose his dark doppelgänger before his ambition erases all of reality. When Strange Supreme’s attempts to coerce his other half into joining his cause are rejected, a magical battle ensues that spans multiple dimensions. Despite Wong’s protective spells and Strange’s efforts to talk down his dark half, Strange Supreme’s centauries of basking in the powers of countless magical beings makes him the superior and he’s ultimately able to absorb his missing half. Finally whole again, Strange Supreme succeeds in undoing Christine’s death but is transformed into a demonic being by the effort this requires; understandably, she is horrified by his nightmarish appearance, and he’s left helpless to stop the time paradox from devouring all of his reality. Desperate to preserve the world, he begs the Watcher for help but he refuses to get involved, despite wishing to punish Strange Supreme’s reckless arrogance, and the once Sorcerer Supreme is left alone, despondent, and remorseful in the tiniest pocket of reality with nothing but his grief and regret for company.

Banner is horrified to find the world, and many of its heroes, infected by a zombie virus.

One popular, recurring storyline in Marvel Comics in recent years has been the Marvel Zombies spin-off (Various, 2005 to present) that tells of a devastating zombie plague overwhelming the Marvel universe (and beyond). A version of this reality is explored in “What If…Zombies?!” (Andrews, 2021), which finds the Hulk crash-landing into the Sanctum Sanctorum as in Avengers: Infinity War (Russo and Russo, 2018) only to find it, and the streets of New York City, deserted. When Iron Man, Dr. Strange, and Wong arrive to take care of Ebony Maw (Tom Vaughan-Lawlor) and Cull Obsidian (Terry Notary), Banner’s elation soon turns to horror when the three are revealed to be vicious, flesh-eating zombies who tear Thanos’s children to shreds, instantly infecting them in the process, and Banner is only saved from the same fate thanks to the timely intervention of Dr. Strange’s Cloak of Levitation, a swarm of ants commanded by Hope van Dyne/The Wasp, and Peter Parker/Spider-Man (Hudson Thames). Spider-Man’s amusing orientation video shows that the MCU’s zombies largely confirm to the “rules” commonly associated with their kind; they’re decomposing corpses with a voracious hunger who turn others with a single bite and can only be killed by removing the head or destroying the brain. However, they’re not as mindless or shambling as traditional zombies; they’re intelligent enough to co-ordinate their attacks and utilise tech like the Iron Man armour and magic like the Sling Rings. In a change of pace, the Watcher reveals a definite origin for the zombie outbreak by relating how Janet van Dyne (Michelle Pfeiffer) became infected with the virus while stuck in the Quantum Realm; when she bit Hank Pym, he brought the virus back with him and the entire world was quickly overrun once the Avengers were turned.

The survivors narrowly escape Zombie Wanda, completely unaware of a greater threat waiting in Wakanda.

Banner joins up with the few uninfected survivors and learns from Okoye (Danai Gurira) of a possible cure at Camp Lehigh, New Jersey; the group travel to the Grand Central Station, where they’re attacked by zombified versions of Sam Wilson/The Falcon (Anthony Mackie), Hawkeye, and Captain America. Although they lose Harold “Happy” Hogan (Jon Favreau), the group is able to get the train working and fend off the zombies thanks to Okoye and the Wasp. However, the train is attacked by Zombie Cap, who infects Sharon Carter (Emily VanCamp) and forces Bucky to end his undead existence, retrieving his shield in the process, but Hope is also infected from a small cut she receives after disposing of Sharon. Although Peter tries to remain optimistic that she’ll be cured before she can turn, Hope sacrifices herself to atone for her part in causing the outbreak by carrying the group through a horde of zombies and dropping them off at Camp Lehigh. There, they find the zombies refuse to breach the camp thanks to the presence of the Mind Stone in the Vision’s (Paul Bettany) head; he and the severed head of Scott Lang (Paul Rudd) reveal that the Mind Stone’s properties can reverse the zombie virus, and the group is excited to spread the cure throughout the world from Wakanda. However, Banner learns that they’re not the first to respond to the Vision’s beacon, and Bucky is horrified to find that the Vision has been feeding parts of other survivors (including T’Challa) to a zombified version of Wanda Maximoff (Elizabeth Olsen) since she’s proven resistant to the Mind Stone and he’s been unable to kill her due to his love for her. When Wanda breaks free and proves uncontrollable due to her powers and hunger, the Vision rips the Mind Stone out of his head to atone for his actions and the group’s escape is covered by Bucky and the Hulk, who finally emerges from Banner’s psyche and is able to resist the zombie’s bite and hold back Wanda so the others can take off. The one-legged T’Challa, beheaded Lang, and shellshocked Peter console themselves with the knowledge that they’ll be able to save the world once they reach Wakanda, completely unaware that the nation has already succumbed to the infection and is under the rule of a zombified Thanos and his partially-completed Infinity Gauntlet!

Killmonger rescues Stark and becomes his most trusted confidante to kill his way to his birthright.

We then go back to where the MCU all started in “What If…Killmonger Rescued Tony Stark?” (Andrews, 2021), which recreates the opening moments of Iron Man (Favreau, 2008) with one key difference: right as Tony Stark is about to be injured by one of his own missiles, he’s saved by N’Jadaka/Erik Stevens/Killmonger (Jordan), who fends off the Ten Rings soldiers looking to kidnap Stark and thus means that the genius, billionaire philanthropist never learns the humility or courage that led to him becoming Iron Man. Instead, he remains a conceited, arrogant, self-serving glory hound who believes that he needs to build bigger, better weapons to protect America’s interests. To that end, he drafts in Killmonger, who wastes no time in publicly outing Obadiah Stane (Kiff VandenHeuvel) as the man who bankrolled the Ten Rings’ attack on Stark, and Stark is so grateful to his saviour that he quickly promotes Killmonger to his new Chief Operations Officer, alienating Virginia “Pepper” Potts (Beth Hoyt) in the process. Killmonger swiftly becomes Stark’s closest friend and confidante and, together, they create robot drones, the “Liberators”, based on Killmonger’s fandom for anime. Killmonger pushes Stark to use Vibranium as a power source for the Liberators, and Stark sends in Colonel James “Rhodey” Rhodes (Don Cheadle) to steal some from Ulysses Klaue (Andy Serkis). However, the Black Panther attacks the meeting to recover stolen Vibranium, only for Killmonger to reveal his true intentions and kill T’Challa with one of Stark’s weapons. He chastises Rhodey for wearing the uniform of his oppressors and kills him with the Black Panther’s claw to make it seem like they killed each other; thanks to Just A Rather Very Intelligent System (J.A.R.V.I.S.; Bettany), however, Killmonger’s actions are revealed to Stark. Stark tries to avenge his friend’s murder using a Liberator, but Killmonger easily bests the drone and kills Stark with a Dora Milaje spear, which escalates the tensions between the United States and Wakanda into all-out war. General Ross assumes control of Stark’s assets and the Liberators are pushed into mass production; Killmonger then kills Klaue in order to deceive the Wakandans, then seizes control of the Liberators to lead his people in “defeating” the invading army. His victory and battle prowess wins over his uncle, T’Chaka, and earns him the mantle of the Black Panther; however, T’Challa’s astral warnings of Killmonger’s impending defeat are left a distinct possibility not only due to Ross’s obsession with continuing the war but also when Pepper and Shuri (Ozioma Akagha) agree to work together to expose Killmonger’s deception.

This Thor just wants to party, but his good time is spoiled by Captain Marvel and Jane blabbing to Frigga.

“What If…Thor Were an Only Child?” (Andrews, 2021) lightens things up a bit by retelling the events of Thor (Branagh, 2011); in this version of the story, in the absence of a brother to grow up alongside, Thor is little more than a lackadaisical, party-loving frat-boy who, despite still being worthy of Mjölnir, is far more interested in wasting time revelling with his friends than following his mother, Frigga’s (Josette Eales), instructions to behave or becoming a bore like his father, Odin Allfather (Anthony Hopkins). To avoid the all-seeing gaze of Heimdall (Idris Elba), Thor and his drinking buddies head the Midgard, the most backwater, insignificant world in all the Nine Realms, and invite guests from all over to join them in a massive, nonstop party. Tracking the cosmic disturbance and fearful of an alien invasion, Doctor Jane Foster (Natalie Portman) investigates and is both disturbed to find that Thor’s parties are so out of control that they can kill planets and won over by the Thunder God’s otherworldly charm. Jane and her intern, Darcy Lewis (Kat Dennings), join the party, quickly being swept up in all the intergalactic chaos and merriment on display; Darcy even marries Howard the Duck (Seth Green), and Jane and Thor get matching tattoos, but soon wake up to massive hangovers and the arrival of S.H.I.E.L.D. Acting Director Maria Hill (Cobie Smulders) is deeply concerned that Thor is leaving a trail of destruction as he takes his party on the road, and calls in Captain Marvel to assist with the perceived threat. Thor’s reunion with fellow party animal Prince Loki of Jotunheim is interrupted by Captain Marvel’s arrival; Thor brushes off her demands that he leaves, and a fight ensues that sees the two battle all across the globe. Despite Thor’s petulant, childish nature, the two are seemingly equally matched in terms of power and durability, but Carol’s forced to hold back her full power to avoid damaging the world or endangering lives. Since Jane disagrees with attacking or eliminating Thor since she’s so enamoured by him, she uses her tech to contact Heimdall and literally tells on Thor to Frigga. As Hill prepares an all-out nuclear strike against Thor, he’s terrified by Frigga’s impending arrival and begs his guests to help him clean up all evidence of their shenanigans. Despite Thor’s best, most frantic efforts to put right all the anarchy he and his friends had caused, she sees through his deception; however, rather than being mad at Jane for selling him out, he thanks her for teaching him a lesson in humility and asks her out…only for he, and the Watcher, to be stunned by the sudden appearance of an alternate version of Ultron!

This alternate version of Ultron is such a threat to the multiverse that the Watcher is forced to intervene.

This cliff-hanger is explained in the following episode, “What If…Ultron Won?” (Andrews, 2021), which presents a post-apocalyptic world where Black Widow and Hawkeye are the only Avengers left to oppose the all-powerful Ultron. In this world, Hawkeye not only sports his ridiculous mohawk and a mechanical right arm, but Ultron successfully fulfilled its goal to cause an extinction-level event by claiming the Vision’s body as its own, killing Iron Man, Cap, and Thor, and launching a worldwide nuclear attack that decimated humanity. When Thanos arrived looking to retrieve the Mind Stone, Ultron split him in two with one shot and claimed the Infinity Stones for itself, becoming a God-like being capable of laying waste to entire worlds and Realms with its endless supply of drones. Asgard, Ego, Xandar, and countless others all fall before Ultron’s power and even Captain Marvel is unable to oppose it; having eradicated the vast majority of life across the universe and ascended to a higher pane of existence, Ultron not only sees but also hears the Watcher. Although the Watcher previously considered intervening in Dr. Strange’s story, he held true to his vow of non-interference since he deals in a cosmic balance beyond the lives of mere mortals, even ones as powerful as the Master of the Mystic Arts. However, Ultron’s threat is so terrifying even to this cosmic observer that the Watcher is sorely tempted to assist Natasha and Clint in their efforts to coerce Zola’s artificial intelligence into helping them. The Watcher is pleased when their perseverance pays off but, although Zola is able to possess one of Ultron’s drones, he cannot shut down Ultron’s hive mind as Ultron is outside of the known universe, meaning Clint is forced to sacrifice himself so that Natasha and Zola can escape. The Watcher is aghast when Ultron not only does the impossible and breaches his cosmic observatory but is also able to match even the Watcher’s cosmic power. Their battle sees them literally smashing the dimensional barriers into numerous alternate realities and sees Ultron devour a whole universe and force the Watcher to flee. While Ultron prepares to lay waste to the entire multiverse, the Watcher is forced to turn to Strange Supreme for help in opposing Ultron’s threat.

The Guardians of the Multiverse join forces to end Ultron’s threat.

This story, and the entire show, comes to a head in the final episode, “What If…the Watcher Broke His Oath?” (Andrews, 2021), which sees the Watcher recruiting Captain Carter, T’Challa Star-Lord, Killmonger, Party Thor, and a previously unseen version of Gamora (Cynthia McWilliams) to join Strange Supreme as the Guardians of the Multiverse. He enlists each of them right as they’re in the middle of tying up loose ends from their respective episodes and emphasises that every one of them is needed to protect something even bigger than their individual lives or concerns. Captain Carter immediately recognises the gravity of the situation, while Strange Supreme sees this as his chance at true redemption, and, despite the odds, they all tentatively agree to work together to combat Ultron, steal his Soul Stone, and destroy it using Gamora’s “Infinity Crusher” device. While Strange Supreme struggles to contain the dark magics within his body, Gamora is troubled by Killmonger’s obsession with Ultron’s technology, and Thor accidentally attracts Ultron’s attention, but the group is thankfully shielded by Strange Supreme’s protection spell. Following Captain Carter’s lead, the Guardians are able to launch a co-ordinated attack that allows T’Challa to swipe the Soul Stone; when Ultron makes short work of Zombie Wanda and follows the Guardians to its home reality, it gets summarily pummelled by the Guardians’ repeated attacks and Strange Supreme’s ability to counteract both Ultron’s Time Stone and match its enlarged form with his monstrous magic. Although they’re stunned to find the Infinity Crusher ineffectual because it and the Infinity Stones are from different realities, Ultron’s threat is ended when Captain Carter helps Natasha avenge Clint and fire an arrow containing Zola’s consciousness into Ultron’s armour, erasing its sentience once and for all. In the aftermath, Killmonger claims Ultron’s armour and proposes using the Infinity Stones to “fix” their universes; when they refuse, he attempts to destroy them and they’re saved by a Zola-controlled Vision, who tries to take the Infinity Stones for himself. Before they can properly get into a potentially devastating battle over the gems, Strange Supreme freezes them in time and seals them within a pocket dimension, ending their threat once and for all. The Watcher trusts Strange Supreme with watching over the two, and returns everyone to their proper place and time; since Natasha’s world was left lifeless by Ultron, the Watcher sends her to help Nick Fury overthrow Loki, and then alters his vow of impassive observation to a pledge to protect the multiverse when needed.

The Summary:
At first, I wasn’t too sold on What If…?’s animation style; the slick, computerised cel-shaded look has never been a favourite of mine, but I was quickly won over by it due to how closely each character and episode mirrors their live-action counterparts. Everything from the recreation of certain shots, to the musical cues, to the costumes and likenesses perfectly emulates the source material each episode is based on, meaning we get the brown-hued colour scheme of World War Two for Captain Carter, the barrage of bizarre cosmic colours for Star-Lord, and the industrial, high-tech grey of Stark and S.H.I.E.L.D. facilities. Although some notable names from the MCU didn’t return to lend their voices to their iconic characters, What If…? employs the services of some incredibly gifted soundalikes and even goes the extra mile in presenting a version of Bruce Banner that resembles both Edward Norton and Mark Ruffalo, which is fitting considering we encounter this character between his solo film and his first big MCU crossover. Animation also means that What If…? is theoretically able to do absolutely anything it desires, regardless of budget, and is limited only be the imagination of the animators; thus, while things are a little on the safe side with slightly different retelling of Captain America: The First Avenger, Thor, and other MCU films, it’s not long before we’re seeing massive Lovecraftian creatures, a whole host of Marvel heroes interacting in ways we’ve not really seen before, an additional taste of the cosmic madness of the universe (and multiverse), and a wide variety of both horrifying and oddball concepts to really test the waters of what the MCU is capable of going forward.

Captain Carter and T’Challa Star-Lord are just as competent, if not more so, as their MCU counterparts.

I really liked that, despite their reversed roles, Peggy and Steve still have a mutual attraction based on mutual respect and their respective struggles; Peggy faces an uphill battle due to being a woman in a male-orientated world (and war) that constantly weighs her down even after she’s enhanced by the super soldier serum, and of course Steve has been overlooked and undervalued his entire life due to his gaunt frame and sickly nature. While everyone else is either incredulous due to her being a woman or impressed by her fighting prowess because she is a woman, and she must prove her worth through her deeds to win them over, Steve admires the person that she is and her fighting spirit; he’s the only one that doesn’t judge her for her gender and who doesn’t need convincing that she’s the right person for the job and is only too grateful to be an active combatant alongside her in the Hydra Stomper. Peggy is also quite different in the role; like Steve, she attacks it with a sense of duty and honour, but she also takes far more joy in her newfound abilities. There’s a sense that she’s finally able to let loose, that she’s been given the physical gifts to realise her full potential, and she literally dives head-first into making the most of that opportunity. T’Challa’s characterisation as a galaxy-wide force for good is a fitting tribute to the late Chadwick Boseman; unlike Peter Quill, T’Challa is a well-respected and competent space mercenary, and I loved the running gag that he’s somehow able to convince even the most maladjusted individuals to give up their villainous or tyrannical ways simply through presenting a convincing argument. Korath is only too willing to change sides simply out of his worship of Star-Lord, and his crew follow his lead into doing good deeds simply because he was such a positive influence on them. Unfortunately, he’s not able to have the same influence on the Collector, who’s not only blinded by his position in this universe, but also driven by his inherent greed and given a major power boost thanks to his artefacts. However, while threats still remain in this timeline, on the surface it seems to be a far more peaceful and united universe simply thanks to T’Challa’s positive influence on others.

What If…? isn’t afraid to get very dark and show twisted or corrupted versions of these popular characters.

Things take a turn to the dark side once the Avengers (especially Stark) start getting killed off; What If…? is a self-contained show within the larger MCU multiverse, meaning literally anything can happen to anyone, and seeing the franchise’s core six heroes be so brutally murdered really hammers that home. It also gives Hank Pym, someone introduced later into the MCU, a chance to be a more prominent player in this sandbox; seeing him active in the MCU’s first phase is a great way of fleshing out the world in a unique way, especially as he’s become a murdering psychopath. This is a Pym whose neuroses and paranoia have been pushed to breaking point, which deftly showcases just how much of a threat a guy with Pym’s intellect and technology can be to even the most superhuman individuals. Of course, the epitome of dark character turns is the tragic tale of Strange Supreme; it’s absolutely heart-breaking to see Dr. Strange left so desperate and despondent by Christine’s loss that he fell deeper and deeper to the darkness. His frustration and anguish at being unable to change the past see him become obsessed with gaining more and more power, to the point where he is fixated only on being reunited with his love. This makes him blind to all pleas, even those of his uncorrupted counterpart, and it isn’t until all of reality is about to be erased forever that he realises the error of his ways. Sadly, by then, it’s much too late for him to undo anything; Christine once again dies in his arms and everything that ever was is unravelled due to his time paradox; even the Watcher judges his heinous actions, and the once mighty Strange Supreme is left alone and repentant in the tiniest slither of reality. It’s a poignant and gut-wrenching take on the snarky, stubborn, and arrogant Sorcerer Supreme, one that shows just how dangerous a threat he could be if he lost his strong moral compass, and it’s a testament to the show that the character remained a tragic and relatable figure right up until the end rather than simply being a malevolent antagonist.

What If…? showed characters are their grimmest and worst and also at their most carefree.

Easily the darkest tale is the inclusion of zombies; never before has the MCU veered so closely towards traditional horror and I really appreciated the bleak, gory change of pace. It was fantastic seeing the MCU’s most powerful characters reduced to animalistic ghouls, forcing the few survivors to battle their lifelong friends and making painful sacrifices to ensure the safety of others against overwhelming odds. This was also a prime opportunity to show a new side to the Vision; him luring in survivors just to feed his love is a haunting glimpse at the darker side of his cold, calculating logic. We’ve seen such behaviour, this overpowering sense of denial, in zombie films before and, here, it served as a gruesome reminder of just how close to the brink this alternate reality is to total collapse. This continued in Killmonger’s welcome reappearance, with his alternate tale basically showing what could have happened if he had succeeded in his goals of reclaiming his Wakandan birthright; Killmonger was always one of the MCU’s more driven and dangerous antagonists and his episode showed just how truly vindictive and sadistic he really was. He had no qualms about deceiving or using anyone and any resource at his disposal, and even incited an all-out war just so that he could get himself into a position of trust and power, which serves as a stark reminder to just how ruthless a villain he really was. The party-loving version of Thor is the polar opposite; Party Thor cares little for battle or being a king and just wants to enjoy himself. He revels in being the centre of attention and throwing the biggest, most outrageous parties in all the Nine Realms and is lauded amongst his guests as being the wildest party animal around. Thor is a consummate free spirit and a friend to all; alien races, Gods, and recognisable beings from all across the cosmos cheer his name and share in his revelry, making for some of the most light-hearted and amusing moments in the entire series as Surtur (Clancy Brown) tries it on with Lady Liberty and Frost Giants deface Mount Rushmore. This episode also leads to one of the best fist fights in the series as Thor and Captain Marvel trade blows, but he delights in the fight as much as he does in enjoying himself with mead, and only the disapproval of his mother finally shakes Thor from his apathy and pushes him to make amends for his reckless merriment.

The Watcher is forced to take action for the first time in his long life in order to defend the multiverse.

Of course, things come to a suitably dramatic and action-packed conclusion with the final two episodes, which finally force the Watcher into action. Up until then, the watcher existed outside of the normal universe, powerful and cosmic enough to remain completely undetected, but Ultron’s sentience and force grows to such an extent that it’s able to sense the Watcher, breach his observatory, and begin a maniacal campaign to conquer and destroy the entire multiverse. Untold aeons of quietly observing the multiverse haven’t exactly dampened the Watcher’s power cosmic, but in the face to Ultron’s might, enhanced by the six Infinity Stones, the enigmatic onlooker is forced to do the one thing he has never done and ask for help, calling upon the characters he has been observing and asking them to intervene where he cannot. Seeing these wildly different versions of these characters interacting was a blast; they arguably got on the same page much faster than the regular Avengers (which is no doubt due to the short length of the episodes) and were able to launch a united attack on Ultron as a result. Indeed, Ultron kind of got a bit shafted in the last episode; it went from going toe-to-toe with a cosmic being to getting battered about by a handful of mortals and Godlings simply because the Guardians were able to keep the pressure on and keep Ultron from activating the Infinity Stones. Realistically, Ultron could’ve just “snapped” them all away, but then that wouldn’t be anywhere near as exhilarating for a final battle now, would it? Seeing Killmonger claim the gems and just the idea of what his twisted imagination would use them for was a cool moment, as was the idea that he might someday escape his trap to threaten the multiverse again, and just about the only issue I had with that last episode was the random inclusion of a Gamora when they could’ve maybe employed Zombie Wanda instead. Overall, though, I thoroughly enjoyed this series; the presentation, the humour, the fun twists on established characters, and the bizarre stories were all really fun and engaging and I can’t wait to see more from this as the MCU continues to expand into more and ore obscure concepts.

My Rating:

Rating: 5 out of 5.

Fantastic

Did you enjoy What If…?? Which episode was your favourite, and which of the alternate characters did you like the most? Did you enjoy the Watcher’s inclusion and characterisation? What did you think to all the cameos and the animation style? Did you enjoy seeing Ultron as an all-powerful force and what did you think to its battle with the Watcher? Were you also disappointed that Gamora didn’t get her own episode? Are you a fan of the What If…? comics and, if so, which was your favourite? What other hypothetical scenarios would you like to see explored in a future season? Whatever your thoughts on What If…?, sign up to drop a comment down below and check back next Sunday for the final instalment of Multiverse Madness.

Talking Movies: Iron Man 3

Released: 3 May 2013
Director: Shane Black
Distributor:
Walt Disney Studios Motion Pictures
Budget:
$200 million
Stars:
Robert Downey Jr., Guy Pearce, Gwyneth Paltrow, Don Cheadle, Rebecca Hall, Ty Simpkins, and Ben Kingsley

The Plot:
Suffering anxiety attacks following his experiences in The Avengers/Avengers Assemble (Whedon, 2012), Tony Stark/Iron Man (Downey Jr.) has been busying himself creating a whole slew of new armours. While smooth-talking entrepreneur Aldrich Killian (Pearce) woos Stark’s love interest, Virginia “Pepper” Potts (Paltrow), with his “Extremis” technology, Stark is incensed when his friend Harold “Happy” Hogan (Jon Favreau) is left critically injured as a result of the mysterious and sadistic terrorist known only as the Mandarin (Kingsley). After declaring war on the Mandarin, Stark is left without his vaulted technology and with only his wits and genius intellect to uncover the terrorist’s connection to Extremis.

The Background:
Although both Iron Man (Favreau, 2008) and Iron Man 2 (ibid, 2010) were both incredibly profitable, the future of the Marvel Cinematic Universe (MCU) was secured after the unprecedented success of their first team-up movie. Moving into Phase Three, the MCU faced some corporate issues that led to Walt Disney Studios purchasing the distribution rights to the films from Paramount Pictures before production of a third Iron Man movie began. Although actor/director Jon Favreau remained attached as a producer and actor, he opted not to return to the director’s chair and star Robert Downey Jr. reached out to Shane Black to take the reigns. Drawing inspiration from Warren Ellis’ “Extremis” arc (2005 to 2006), Iron Man 3 (curiously titled “Iron Man Three” in the credits) sought to strip Stark of his resources and be more of a Tom Clancy-style thriller than a traditional superhero film. Although the film drew some controversy for dramatically altering Rebecca Hall’s role and prominence and including a very ill-advised (in my opinion) twist, Iron Man 3 was ridiculously successful and made over $1.200 billion at the box office. Critically, the film’s reviews vary; some praised the tonal shift towards comedy and more grounded action while others took issue with these same aspects.

The Review:
Unlike its predecessors, and the majority of films in the MCU, Iron Man 3 is bookended by Tony Stark narrating the seemingly-insignificant events from his past that led to his latest struggle in the film. While this makes for an amusing post-credits scene where it’s revealed that he’s been boring Doctor Bruce Banner (Mark Ruffalo) to sleep with the events of the movie, his voice over is only really used at the start and the end of the film so it seems a bit pointless to me. Add to that the fact that this post-credits scene is telling us that Tony’s battle against the Mandarin is boring an uninteresting, and this kind of sets a precedent for what to expect from Iron Man 3.

Stark shuns Killian back in the nineties and creates one of his most dangerous foes in the process.

As part of the film’s aim to harken back to the themes and atmosphere of the first movie, Iron Man 3 begins at a New Year’s Eve Party in 1993. Here we are reminded of just how selfish, self-centred, and vindictive Stark can be as he’s too busy drinking, partying, and flirting with Maya Hansen (Hall) than giving the likes of Ho Yinsen (Shaun Toub) or the awkward and ungainly Aldrich Killian the time of day. In this flashback scene, Killian is depicted as a bespectacled, awkward cripple and a goof in an employment of one of the worst tropes of superhero movies. However, thankfully, we’re spared watching him undergo a physical and mental transformation and degradation over the course of the movie and his inelegant manner is limited purely to this brief sequence and a subsequent flashback later in the film. This trope is also primarily used to show that he overcame his limitations and Stark’s dismissal of his idea for a collaborative think-tank of the country’s top minds and to further emphasise that Stark’s ignorance and egotism leads to him effectively creating his own villains later in life for not being more considerate to others.

Suffering from PTSD and insomnia, Stark neglects Pepper and focuses on building more armours.

When we catch up with Stark in the then-present day, he’s fully committed to his relationship with Pepper and seemingly in a much more stable place in terms of his personality (though he retains his trademark snark and sardonic nature) but he’s haunted by his near-death experience in Avengers Assemble. Suffering from frequent nightmares and flashbacks to the wide, unknown dangers that lie beyond our world, Stark is stricken by harrowing panic attacks any time the subject of New York comes up and has spent more and more time finding comfort in his Iron Man armour and tinkering down in his workshop. Constantly distracted, highly strung, and fatigued, his relationship with Pepper suffers a bit as a result of the fact that, rather than open up to her, he prefers to make more and more Iron Man variants and work on perfecting his Mark XLII armour, which is capable of separating into self-propelling parts that respond to his commands via micro-repeater chips.

Rhodey features prominently as the government-sponsored superhero Iron Patriot.

Despite having gained new allies in his fellow Avengers, Stark feels more alone than ever; not wanting to worry Pepper, he keeps her at arm’s length and works around the clock to ensure her safety. Happy is busy with his new position as head of security at Stark Enterprises (a job he takes very seriously) and, though Colonel James “Rhodey” Rhodes (Cheadle) unsuccessfully tries to ask about Stark’s mental health, his loyalty to the military necessitates keeping independent costumed heroes like Iron Man out of the loop. Indeed, in an extension of Rhodes’ sub-plot in Iron Man 2, President Ellis (William Sadler) has officially commissioned Rhodes to ditch the War Machine moniker and don the garishly patriotic red, white, and blue armour of the “Iron Patriot” and act as governmentally-sanctioned superhero to help allay fears following the Chitauri invasion.

Pepper’s fears about Extremis prove correct when Happy is injured by its destructive instability.

Since Stark is preoccupied with his mounting anxiety issues, Pepper is left feeling unappreciated and shunned. Though she stays loyal to Stark, despite his eccentricities, she is more than a little impressed when Killian shows up at Stark Enterprises having transformed into a physically gorgeous, confidant businessman. After Stark’s dismissal of him back in the nineties, Killian resolved to make Advanced Idea Mechanics (A.I.M.) incredibly successful and profitable and, through A.I.M..s research, was able to not only cure his own degenerative physical condition but potentially offer a cure for those suffering from all kinds of mental and physical ailments in the development of Extremis. However, while Killian’s presentation and charisma are impressive, Pepper ultimately turns down a proposed business venture between Stark Enterprises and A.I..M. out of fears about the potential weaponisation of the Extremis technology. Pepper is right to turn down this proposal as, very quickly, it is shown that a number of ex-soldiers have been exposed to Extremis and become living weapons as a result. The virus, cultivated from Maya’s research, promises to spontaneously heal wounds and even regrow limbs as well as curing mental and physical deficiencies and granted a degree of superhuman strength and dexterity to its subjects.

When Stark antagonises the Mandarin, he’s left without his tech and reliant upon a child.

However, Extremis is, as the name implies, extremely volatile and many of those exposed to it burn out and explode as veritable suicide bombers. When Happy is critically injured in one of these attacks, Stark is incensed and openly challenges the one responsible for these, and many other devastating terrorist attacks, the terrorist known as the Mandarin. The Mandarin, who flashes up the symbol of the Ten Rings and frequently issues ominous threats by hijacking the airwaves, directly threatens President Ellis and proudly takes credit for the deaths of innocents in his unrelenting attacks against the United States. However, despite Rhodey cutting Stark out of the Mandarin investigation, Stark publicly (and recklessly) calls out the Mandarin after Happy is put in the hospital; the result is an all-out attack that devastates his home, burying his armours and technology, and leaves Stark stranded in Tennessee cut off from Just A Rather Very Intelligent System (J.A.R.V.I.S.; Paul Bettany) and with his Mark XLII armour powerless. Stripped of his resources and technology, Stark is forced to team up with young Harley Keener (Simpkins), who helps Stark link the Extremist terrorist attacks, and the Mandarin, back to Killian.

The Nitty-Gritty:
Given that it’s written and directed by Shane Black, Iron Man 3 takes place around the Christmas season; while Christmas doesn’t really factor into the overall plot in any tangible way beyond a few trees, decorations, and Tennessee being covered in a frigid snow, it does help the film to stand out against other MCU movies, and superhero films in general, as there aren’t very many that take place in the festive season. Thankfully, despite some of the flaws in the direction of the film and the decisions the filmmakers make regarding certain characters, the change in directors doesn’t diminish the perfect blend of snark and humour at work in Iron Man 3. Indeed, Stark’s interactions with the likes of Rhodey, Happy, and Harley are one of the film’s highlights and it’s great to see that he’s still a droll prick when he needs to be despite being a “piping hot mess”.

While it’s great for his character growth, Stark spends a lot of the film without his armour.

Indeed, the film adds further layers to Stark’s complex personality by adding post-traumatic stress to his laundry list of character defects; traumatised to the point where he suffers from insomnia and a deep-seated urge to build and create armours for every conceivable scenario, the last thing Stark needs is to be left without his tools and technology and yet that’s exactly where he finds himself. Stark’s efforts in Tennessee effectively return him to the cave where he must rely on his innovative genius to survive; when he tracks the Mandarin to Miami, he infiltrates the terrorist’s base with little more than some cobbled-together armaments that ape his usual Arc Reactor-powered arsenal. Teamed with a similarly suit-less Rhodey (whose henchman, Eric Savin (James Badge Dale), appropriates the Iron Patriot suit to kidnap President Ellis), Stark becomes much more of a resourceful spy than a colourful superhero and he spends a great deal of the film (arguably too much, in my opinion) outside of the armour rather than in it.

The Mandarin stupidly turns out to be a drunken buffoon merely acting the part.

When he confronts the Mandarin, Stark is confused and enraged to find that he’s little more than a drunken, substance-dependent eccentric English actor named Trevor Slattery. Trevor willing reveals that he was contracted by Killian to pose as a credible terrorist threat in order to kill the President and replace him with Vice President Rodriguez (Miguel Ferrer), a puppet leader who will do exactly as Killian dictates. This twist on the traditional Fu Manchu sorcerer figure who I grew up seeing as Iron Man’s archenemy is undeniably amusing but, in retrospect, was a pretty awful idea; you had Ben Kingsley, Ben Kingsley, who absolutely crushed it when portraying the Mandarin and you turned him into an alcoholic buffoon. Indeed, the MCU producers backtracked on this depiction of the Mandarin pretty quickly and eventually brought the true Mandarin into the fold but even then the character was significantly altered from the source material. Sadly, though, this came out long after Stark’s emotional death so we were robbed of seeing him go toe-to-toe with his most iconic nemesis, which remains a bitter pill for me to swallow.

Killian is positioned as the main villain and claims to be the true Mandarin…

As has been publicly explored, Maya’s involvement in the plot as a tertiary antagonist is similarly swept under the rug; rather than be a significant threat to Stark, she merely ends up being a pawn of Killian’s who is gunned down the moment she has a crisis of conscience. Consequently, it’s Killian himself who acts as the film’s primary villain; a malicious, ruthless, and cunning adversary, Killian is yet another dark mirror of Stark (at least in terms of his business acumen) who subjects numerous desperate souls to his Extremis process despite knowing full well that it could kill them. He even forcibly infects Pepper with the virus, though this ultimately proves to be his downfall when she conveniently proves to be far more stable than most of his usual subjects. Killian ultimately takes on the Mandarin moniker for himself, showcasing superhuman strength, unparalleled regenerative abilities, and even the ability to breathe fire (making him like a composite of the comic’s Killian, Mandarin, and Fing Fang Foom).

The army of armours shows up way too late and are almost immediately destroyed, which is a shame.

While there is a noticeable lack of Iron Man action in Iron Man 3, the film does make up for it with a particularly exciting sequence where Stark has to rescue a bunch of the President’s personnel when Air Force One is destroyed, which is quite the innovative and unique rescue scene. Still, one of the primary selling points of any Iron Man movie, especially for me, are the various different armours Stark constructs for himself and Iron Man 3 culminates in a veritable smorgasbord of suits for our viewing pleasure. Sadly, though, while many of these were a significant aspect of the film’s marketing, they only appear onscreen for the briefest of moments in the finale, where Stark has J.A.R.V.I.S. remote pilot every single one of his suits to assist in the battle against Killian. Even his apparently revolutionary Mark XLII armour is pretty underwhelming as it constantly breaks, shatters, and loses power, making it probably the most ineffectual of all of his armours. Once Pepper kills Killian off, Stark immediately orders every single one of his suits to self-destruct and then just fixes not only Pepper’s condition but also his own, removing the shrapnel from his chest and apparently retiring from the superhero life. This, however, would simply be the start of another sub-plot and character arc for Stark throughout the remainder of the MCU which specifically dealt with his inability to walk away from Iron Man, the Avengers, and the thrill of being a superhero.

The Summary:
It’s not that Iron Man Three (I still don’t get why it’s credited like that…) is a bad film. For much of its runtime, it’s actually pretty entertaining and dark thanks to the intense and menacing nature of Kingsley’s portrayal of the Mandarin. Even seeing Stark genuinely affected by his experience in Avengers Assemble was intriguing to watch and showed that the character was clearly growing and learning and influenced by the ever-escalating nature of the MCU, to say nothing of further solidifying Rhodey’s growth as his own legitimate armoured superhero. I didn’t even mind, conceptually speaking, the idea of Stark being robbed of his resources and having to improvise as it went a long way to showing just how adaptable, intelligent, and increasingly neurotic the character is becoming about safeguarding his friends, family, and the greater good. However, the execution is flawed in a lot of ways; the film “feels” just as big and exciting as the previous Iron Man movies but any and all of its positives are immediately soured by that God-awful Mandarin twist. Imagine if a Batman movie gave us the most perfect casting and interpretation of the Joker and then threw a curveball by revealing that he was a simple janitor playing dress-up; people would go crazy and, while I understand that the Mandarin comes with many cultural issues, the fact that the MCU eventually managed to translate a more faithful version of him to film years down the line makes me wish that they had stuck with the casting and the magic they had in Kingsley’s casting and given us (and by “us” I mean “me”) the long-awaited showdown between Iron Man and his greatest foe. Instead, we’re left with a decent enough film but one that gambles, and loses, its credibility on a nonsensical decision and one of the weaker films in the MCU line-up, in my opinion.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to Iron Man 3? Can you explain to me why the credits spell the number three out because I honestly don’t get it? What did you think to the aspect of Stark suffering from anxiety attacks? Did you like that he was forced to innovate and work without his armour or were you annoyed at how little Iron Man action there was in the film? What did you think to the twist regarding the Mandarin? Did you enjoy it or, like me, were you annoyed by it? Which of Stark’s new armours was your favourite and would have liked to see more of and what did you think to the introduction of the Iron Patriot suit? What are some of your favourite Iron Man characters or stories? Where does Iron Man rank in your hierarchy of comic book characters? Are you doing anything to commemorate Iron Man’s debut appearance and, if so, what is it? Feel free to drop a comment down below and thanks for being a part of Iron Man Month!

Talking Movies: Iron Man 2

Released: 7 May 2010
Director: Jon Favreau
Distributor:
Paramount Pictures
Budget:
$170 to 200 million
Stars:
Robert Downey Jr., Mickey Rourke, Sam Rockwell, Don Cheadle, Gwyneth Paltrow, Scarlett Johansson, and Samuel L. Jackson

The Plot:
After publicly outing himself as Iron Man, Tony Stark (Downey Jr.) arrogantly refuses to hand his technology over to the United States government. Suffering from palladium poisoning, Stark is also targeted by Ivan Vanko (Rourke) who, bankrolled by Stark’s rival Justin Hammer (Rockwell), builds his own Arc Reactor to pursue a vendetta against Stark’s family.

The Background:
Although the production of Iron Man (Favreau, 2008) and the casting of troubled actor Robert Downey Jr. was a huge risk for fledgling studio Marvel Studios, it ultimately paid off dividends. Development of sequel began immediately after the first film’s release; actor/director Jon Favreau always envisioned the film as the first in a trilogy and chose to skip over some of the source material’s more fantastical elements and draw inspiration from the iconic “Demon in a Bottle” arc (Michelinie, et al, 1979). A big focus of Iron Man 2 was on setting up the larger Marvel Cinematic Universe (MCU), which caused some friction between Favreau and the film’s producers; compounding matters was the recasting of Terrence Howard with Don Cheadle and the cutting of many of Rourke’s scenes. This came to be reflected in the film’s critical response but, despite this, Iron Man 2 was still incredibly successful and made over $620 million at the box office.

The Review:
Iron Man 2 sees Tony Stark more renowned than ever; his admission to being the superhero Iron Man has made him even more of a beloved celebrity and he relishes in the unparalleled freedom his technology has provided to him. Stark uses his increased celebrity status to help bring more eyes to his Stark Expo, which was originally dreamed up by his father, Howard (John Slattery), as a place for the world’s greatest scientific minds too pool their resources.

Tony’s characteristic bravado masks his debilitating sickness.

Stark, however, faces pressure from the United States government, particularly Senator Stern (Garry Shandling), to hand over his Iron Man technology so that it can be taken out of Stark’s irresponsible hands. Though Stark easily shoots down Stern’s demands and retains the same egotistical arrogance that was such a big part of his public life in Iron Man, it’s immediately clear that this is all an elaborate façade. Not only is Stark still struggling with unresolved issues with his father and living up to Howard’s vast legacy, he’s also being slowly poisoned by the Arc Reactor imbedded in his chest, which is flooding his bloodstream with palladium. Burning through his Arc Reactors faster and faster every day, and running out of options, Stark grows more and more impulsive and reckless; while this starts off rather innocently, with him promoting Virginia “Pepper” Potts (Paltrow) to CEO of Star Industries, he soon makes a very public display of himself when he gets drunk while wearing his armour.

Ivan is adept at Arc Reactor tech and has a personal vendetta against the Stark family.

Stark’s primary physical threat in the film is Ivan Vanko, a variation of the comic book Anton Vanko (who was known as both Whiplash and Crimson Dynamo), a hardened Russian technician whose father, Anton (Yevgeni Lazarev), worked with Stark’s father on the Arc Reactor that powers Stark’s heart and armour. Having watched his father die penniless and forgotten, Ivan vows revenge against Stark for stealing all of the credit to the technology and, in scenes that directly parallel Stark’s forging of his Mark I armour, builds his own Arc Reactor and a limited exoskeleton. While Stark primarily fights using projectiles and Repulsor Rays, Ivan favours Repulsor-charged whips that can cut through steel and concrete. Though shown to be just as ingenious and versatile as Stark when it comes to building armours and weapons, Ivan is so focused on humbling Stark in front of the world and driven to near madness by his vendetta that, initially, he forgoes protecting himself (especially his head) and, while he strikes a very public and aggressive first blow against Stark, his campaign is quickly cut short by Stark’s superior technology.

Hammer is so determined to out-do Stark that he forms an alliance with Ivan.

Ivan finds an ally, however, in Stark’s business rival, Justin Hammer. Hammer, who is constantly one step behind Stark in every way, is another mirror of Stark; he’s just as condescending and self-righteous as Stark and enjoys the limelight as much as his rival but is perfectly willing to take any advantage and underhanded tactic he can to get a leg up on Stark. To this end, he liberates Ivan from imprisonment and puts him to work constructing an army of mechanical drones, with which he hopes to make Iron Man obsolete. However, Ivan has little interest in Hammer’s ambitions or money; as long as he has his beloved cockatoo and the resources to destroy Stark, Ivan is prepared to cause as much death and destruction as he possible can to enact his revenge.

Rhodey has a new face, a shiny suit of armour of his own, and a far bigger role this time around.

As before, Stark isn’t alone in his fights against these enemies; however, James “Rhodey” Rhodes (Cheadle), now promoted to a Lieutenant Colonel, identifies that there is a potential threat in third parties attempting to replicate Stark’s technology and, though he stands by Stark and wishes to officially involve Iron Man in the existing military structure, he is forced to oppose his friend when Stark begins to succumb to both his palladium poisoning and one-too-many cocktails. Personally, the switch to Cheadle was nothing but a benefit from my point of view; he’s far better suited to the role and much more believable as a straight-laced military man while still sharing a fun brotherly chemistry with Stark and he has come to own the role in a way that Terrance Howard could only dream of. While it is a bit odd that Rhodey would deem himself more worthy to wear the armour than Stark, and how adept he is at wearing it despite the fact that it seems like he’s never worn it before, he emerges the victor from their scuffle and commandeers the Mark II armour for himself. Bringing it under the jurisdiction of the American government, and being outfitted with Hammer’s technology, Rhodey takes on the identity of War Machine and is fully prepared to lead Ivan’s automated drones into battle for the good ol’ U. S. of A only to find that he has been outfitted with useless weapons and susceptible to Ivan’s control.

Allies old and new assist Stark as S.H.I.E.L.D. continues to monitor his activities.

Though driven to exasperation by Stark’s continued antics and eccentricities, Pepper takes her role as CEO very seriously and begins to make real headway in turning Stark Industries around. Facing the cold reality that he could die, the budding romance between her and Stark blossoms over the course of the film despite Stark’s eye being caught by Natalie Rushman (Johansson). Initially appearing to be little more than a notary and Pepper’s very capable assistant, Rushman turns out to be Natasha Romanoff/Black Widow, sent by Strategic Homeland Intervention, Enforcement and Logistics Division (S.H.I.E.L.D.) director Nick Fury (Jackson) to assess Stark’s for the Avenger Initiative. This leads to some kick-ass fight scenes where Romanoff’s acrobatic versatility is on full display and serves as an alluring introduction to this mysterious character and also ties into the greater MCU by having Fury be so invested in Stark’s suitability.

The Nitty-Gritty:
Like any good sequel worth its time, Iron Man 2 is bigger (and, in many ways, better) than the first film. Without having to spend copious amounts of its runtime establishing Stark’s character and journey towards becoming Iron Man, the film can jump right into the action and picks up about a year after the end of the last movie. While many lamented how much world-building and sequel/spin-off bait was put into the film, I loved it and didn’t feel like the inclusion of Black Widow and Fury or Agent Coulson’s (Clark Gregg) allusions to other superheroic events got in the way of the story at all. If anything, they helped build my anticipation for seeing more from the MCU and the then-upcoming Avengers crossover and I’ve always considered Iron Man 2 to be a far stronger sequel than the third film in the series.

Stark finds the key to his condition by examining his estranged, late-father’s research and blueprints.

As in the last film, Tony’s journey and growth as a character is a central aspect of the film; clearly still haunted by his experiences in the cave and desperate to hide how critical his condition has become, Stark is, seemingly, more reckless and egocentric than ever. However, this is all merely a front to hide his fear at his impending demise and to cover up the insecurities instilled in him by his father’s harsh upbringing. In the end, though, thanks to Fury, Star sees that Howard did have his best interests at heart in his own way. Indeed, thanks to Howard’s designs for the Stark Expo, Stark discovers the key to his survival and is able (quite ridiculously, I’ll admit) to cure himself by creating a “new element”, which ends the threat of palladium poisoning.

Iron Man 2 features some of my favourite armours, with the Silver Centurion being a personal highlight.

In service of outdoing its predecessor as much as possible, Iron Man 2 features a new array of armours and toys for Stark to use; my favourite of these is the Silver Centurion armour, which Stark dons via a suitcase just like in the 1990s cartoon I used to enjoy on a regular basis. While the red and gold armour is very similar to the one from the first film, there are subtle changes and improvements and the special effects are just as good at rendering Iron Man’s actions as before. Add to that an absolutely fantastic adaptation of War Machine, one of my all-time favourite armours from the comics, and Iron Man 2 does a fantastic job of stepping things up a few notches and laying the foundation for the big MCU crossovers that would follow.

Ivan’s conviction, rage, and genius make him a formidable opponent and dark mirror of Stark.

In comparison, Ivan Vanko’s armour is, initially, much more improvised and yet he’s no less capable than his rival. Ivan’s exoskeleton is more than capable of withstanding a head-on car crash and Iron Man’s blasts and his electrified whips are surprisingly effective at damaging Stark’s armour and draining his power. Thanks to Hammer’s resources, Ivan is able to construct a far more menacing and formidable suit of armour for himself for the finale; while this does, admittedly, greatly resemble the finale of the first film, which pitted Stark against a hulking grey counterpart, Ivan stands out just enough thanks to being backed up by Hammer’s drones and still incorporating those same whipping tentacles into the design. Mickey Rourke is an actor who has always been a bit before my time but this film was released right around the time of his big comeback and I have to say he regularly smashed every role he had around this time. His performance here is muted and subdued but threatening; he can say more with a glare and a grunt than many actors can with pages of dialogue and he makes an immediate visual impression with all his tattoos and imposing physique.

Iron Man 2 features a lot more world-building hints and references for the larger MCU.

Hammer, by comparison, is Stark’s business and intellectual opposite and, while Rockwell is no Jeff Bridges and Hammer is visually nothing like his comic book counterpart, Rockwell plays the role of a seedy mirror of Stark to perfection (which is only fitting given that he was considered for the role of Stark in Iron Man). However, Hammer’s ambition to crush and overtake Stark in business and his enthusiasm for Ivan’s genius quickly lead him to getting in over his head and he ends up watching helplessly as his drones are hijacked by Ivan and I am greatly anticipating the character’s eventual return to the wider MCU since he ends the film in jail rather than dead. Speaking of endings, Iron Man 2 concludes with Tony in a much better place, physically and mentally, thanks to having solved his palladium poisoning and officially hooking up with Pepper, but is deemed unfit to be a part of the Avengers due to his many personality defects. Instead, Fury positions Stark as a liaison to help build the team, which is looking in good stead when Coulson leaves to investigate a mysterious hammer in New Mexico.

The Summary:
I often see a lot of people online, especially on my social medias, bad-mouthing Iron Man 2 and, even now, I really don’t understand why; the first film was fantastic, almost lightning in a bottle, but the sequel is a pretty damn decent follow-up. Sure, you can argue that it’s awfully convenient that Fury just dropped the key to Stark’s survival into his lap but I just saw this as world-building and setting the stage for a greater purpose. None of it takes away from Stark’s growth as a character, or his character arc in this film which, we now know, was all part of a much bigger and longer arc of redemption. Facing a different but no less challenging odds and delivering a taste of the extent to Stark’s imagination when it comes to his armours, Iron Man 2 is an intense story of Stark facing the ghosts of his past and setting himself on the path to a greater future while also effectively sowing the seeds for the rest of MCU’s first phase of movies in an entertaining and action-packed spectacle that I feel deserves more credit than it gets.

My Rating:

Rating: 4 out of 5.

Great Stuff

What are your thoughts on Iron Man 2? Do you think it deserves the hate it gets or, like me, were you a fan of how it built upon the themes and action of the first film? What did you think to the sub-plot of Tony being slowly poisoned and the solution to that problem? Did you enjoy the introduction of Black Widow and the hints towards the larger MCU? What did you think to the film’s villains, specifically Rourke and Rockwell’s performances, and Rhodey’s promotion to War Machine? Which of the film’s armours was your favourite and why? What are some of your favourite Iron Man characters or stories? Where does Iron Man rank in your hierarchy of comic book characters? Are you doing anything to commemorate Iron Man’s debut appearance and, if so, what is it? Feel free to drop a comment down below and be sure to check back in next week for the final part of Iron Man Month!

Talking Movies: Iron Man

Released: 2 May 2008
Director: Jon Favreau
Distributor:
Paramount Pictures
Budget:
$140 million
Stars:
Robert Downey Jr., Jeff Bridges, Terrence Howard, Gwyneth Paltrow, and Shaun Toub

The Plot:
Billionaire industrialist and arms manufacturer Anthony “Tony” Stark (Downey Jr.) finds himself humbled after his own weaponry leaves him near death. Captured and forced to make weapons for the terrorist group the Ten Rings, Stark instead constructs a suit of armour and, upon escaping, resolves to put his genius intellect and resources to good use as Iron Man.

The Background:
The development of a live-action Iron Man movie can be traced back to 1990, with stars Nicholas Cage and Tom Cruise both once attached to the titular superhero, but the various scripts and film rights languished in development hell for nearly fifteen years with nothing to show for it. Once the film rights reverted to Marvel, the publisher created Marvel Studios and, encouraged by their success at licensing their more popular characters, began developing movies based on their remaining properties. The first of these was Iron Man; the film’s armours were created by legendary special effects maestro Stan Winston and actor/director Jon Favreau was drafted to direct the film and immediately saw the story as being one of redemption and reinvention. Nowhere was this emphasised more than in the casting of Robert Downey Jr. in the title role; Downey, whose career and life had been in a downward spiral, shot to superstardom after being cast and almost immediately became the linchpin of the Marvel Cinematic Universe (MCU) that Iron Man kicked off. Against all expectations, Iron Man was an unprecedented success; it made nearly $590 million at the box office and received rave reviews. Its success led not only to a two sequels but also a slew of other MCU movies and easily the most successful series of superhero movies in modern times as the MCU dominated cinemas over the next ten years and beyond.

The Review:
Iron Man opens in the war-torn deserts of Afghanistan to the tunes of “Back in Black” by AC/DC; here, we find billionaire industrialist, investor, and consummate playboy Tony Stark sharing some bants with some American soldiers. Stark’s jovial, boastful mood is rudely interrupted when the convey is suddenly attacked, all of his detail killed, and he is caught in the blast from one of his own Stark Industries missiles while trying to message for help. Tony finds himself injured and held hostage by Raza (Faran Tahir), the leader of the terrorist organisation known as the “Ten Rings”, and, from here, we flash back in time some thirty-six hours for a quick recap on Tony’s life. Heralded as a genius, philanthropist, and American patriot, Stark was orphaned as a teenager and, at age twenty-one, took the reigns of his father’s company.

Stark is a lauded genius but his aloof and irresponsible ways make him a flawed character,

Stark is touted as an acclaimed keeper of the peace though his advanced and innovative weapons technology but, for all his genius, he is aloof and bored with such trivialities as receiving awards or really stopping to think about the moral implications of his actions and would much rather be playing craps at Caesar’s Palace and picking up random woman, even reporters who brand him the “Merchant of Death”. Tony is an impulsive and easily distracted individual who simply does rather than thinking since he is so smart that he is often a few steps ahead of everyone else and prefers to be tinkering with his vast collection of cars and in his personal workshop in his grandiose house rather than remembering things like birthdays and keeping his appointments, all while putting himself, his father, and his company on a pedestal for the world-changing technologies his weapons manufacturing has produced and funded.

Stark’s nearest and dearest react to his impulsive attitude in different ways.

Tony’s lackadaisical, self-centred attitude may win over the general public and be a hit with the women but it grates against his closest friends, such as his chauffeur, Howard “Happy” Hogan (Favreau), Obadiah Stane (Bridges), and Colonel James “Rhodey” Rhodes (Howard), who are left to make excuses in his stead. None are left with more trash to clean up, however, than Stark’s personal assistant, Virginia “Pepper” Potts (Paltrow), who constantly finds herself having to chase after him for decisions, signatures, and directions relating to Stark Industries. Each of these characters deals with Tony’s childish ways differently; Happy is happy to indulge Stark’s whims and play along on the sly, Rhodey chews Stark out for disrespecting himself (and Rhodey) with his attitude, Pepper is exasperated by his ways but endures them out of loyalty and a mutual attraction between the two, and Stane is seemingly perfectly happy for Tony to do as he wishes since his brilliant mind helps keep him, and the company, extremely profitable.

Injured by one of his own weapons, Stark resolves to fight back against his captors.

The attack in Afghanistan forces Stark to witness first-hand the consequences of his actions; trapped in a dingy cave and kept alive by a car battery and some cables, Stark is about as far from his faithful artificial intelligence, Just A Rather Very Intelligent System (J.A.R.V.I.S; Paul Bettany), as he can possibly get. His cellmate, Ho Yinsen (Toub), brings him up to speed with his predicament; shrapnel from the missile is lodged dangerously close to Stark’s heart and only the electromagnet imbedded in his chest is keeping him alive. The Ten Rings demand that Stark construct for them an arsenal of his famed “Jericho Missile” and he is subjected to constant torture when he refuses. Horrified to see the terrorists are wielding his weaponry, Stark resolves instead to build a miniature version of his famed “Arc Reactor”, a clean energy device that will more effectively stave off death and plot their escape.

With limited resources, Stark builds his first suit of armour to fight his way to freedom.

What follows is an incredible sequence where, torn away from his luxuries and faced with the cold reality that he has been causing death and destruction across the world, Stark sets to work constructing a powerful exoskeletal suit of armour to fight his way out of the terrorist camp. This is a fantastic scene that shows Stark’s adaptability and ingenuity and that he is a formidable foe even without the benefits of modern technology; with a few scraps, his unmatched intellect, and some old-fashioned welding techniques, Stark is able to fool his captors long enough to complete the suit, a clunky, grey monstrosity with just enough power to fight past the guards and blast away to safety. Sadly, Yinsen sacrifices himself to cover Stark when the suit is powering up; with his dying breath, he begs Stark not to waste his life and, humbled by his experiences and Yisnen’s sacrifice, Stark takes his revenge on his captors and resolves to end all weapons manufacturing once he is recovered by Rhodey.

Focused on his new mission, Stark works to perfect his armour and right his wrongs.

Haunted by his experiences in Afghanistan, Stark is angered at his weapons and technology being misused by terrorists and, after a few trials and working out some kinks, finally perfects his armour design into a sleek red-and-gold suit that rockets through the sky, fires missiles and Repulsor Rays, and is fully connected to all available networks and communication devices thanks to J.A.R.V.I.S. Stark wastes no time in attacking Ten Rings sites, freeing those subjugated to their terrorism with extreme prejudice and, in the process, attracts the attention not just from the U.S. military but also Agent Coulson (Clark Gregg) of the mysterious Strategic Homeland Intervention, Enforcement, and Logistics Division (S.H.I.E.L.D.), who wishes very much to “debrief” Stark on the particulars of his escape and extra-curricular activities.

Stane turns on Stark in order to steal his Arc Reactor and armour technology for himself.

Although having shifted his focus onto a more honourable goal Stark remains as arrogant and obnoxious as ever after becoming the “Iron Man”; both Pepper and Rhodey despair at him when they discover what he’s been up to and believe that he is self-destructing but the truth is that his experiences have finally given him something worth living and working for. His actions, however, have far-reaching consequences; Stark is devastated to discover that Stane ordered the hit on him as the two were depicted as being firm friends up until that point. When Stane then steals Stark’s Iron Man technology and garbs himself in a bigger, more menacing exosuit as the Iron Monger, the stage is set for an epic showdown full of personal animosity between the two armoured men.

The Nitty-Gritty:
Even now, Iron Man remains almost timeless in its presentation; thanks to a fantastically old-school method of blending live-action suits with high-quality CGI, the film holds up incredibly well and is just as good now as it was the first time I saw it in cinemas. A rocking soundtrack full of classic heavy metal tracks and a rousing, industrial theme only serve to punctuate the special effects and the whole film seems to have been made with the actors given free reign to ad-lib their dialogue as interactions and banter are all incredibly natural and amusing. Indeed, Stark’s sudden declaration of “I am Iron Man” was an ad-lib and, with that one line, largely dictated the course for the MCU, which generally treats it superheroes like celebrities rather than falling back on the “secret identity” cliché. While I am perfectly happy to see secret identities in superhero films, it was massively refreshing to see a comic book movie buck that trend and made Iron Man even more memorable in the long run.

I was shocked to see Bridges as part of the cast and he steals every scene he’s in!

One thing that makes Iron Man stand out is the quality of the actors; both Iron Man and Batman Begins (Nolan, 2005) changed the game, as far as I am concerned, by featuring high-quality actors like Morgan Freeman and Michael Caine. I remember being incredibly surprised that Jeff Bridges was a part of this film; almost unrecognisable as Obadiah Stane, Bridges is a charismatic, bombastic father-figure who both nurtures and tries to temper Stark’s genius and impulsive nature. His delivery and magnetism steal every scene he’s in and, yes, it’s probably a littler derivative that Stark’s first adversary was basically a dark mirror of himself but Bridges is such a gem that it’s effortlessly entertaining even if it is at the expense of Iron Man’s more famous foes. Stane constantly exudes an odd sense of menace even before he’s incapacitating people with his little ear gadget; when one of his technicians is unable to miniaturise the Arc Reactor technology, Stane simply disables Stark and rips it right from his chest in order to power his own massive suit. Upon donning the Iron Monger armour, Stane immediately becomes obsessed with its power and as drunk on the feeling of freedom and empowerment as Stark is on his own self-adulation (and alcohol, half the time), which ultimately becomes his downfall as he becomes irrationally fixated on taking his frustrations out on a weakened Iron Man. Seeing Stane suited up in the massive Iron Monger armour was pretty fantastic and it serves a stub-plot of the film, and the entire MCU, of Stark confronting his past and overcoming it and his unresolved issues with his father.

Thanks to a combination of practical and special effects, the armours look incredible.

All of this leads me to the biggest draw of the film: the suits themselves. Even now, it is absolutely bad-ass to see the original Mark I clunker of a suit in action which is made all the more visually impressive by just how much of it was actually a practical suit of armour. Stark follows this up with the all-silver Mark II suit, which he wears to test out the limits and capabilities of his Arc Reactor technology (and, in the process, discovers the suit’s tendency to ice up when breaching the upper atmosphere). The final red-and-gold suit is as close to a live-action Iron Man armour you could ask for and looks like one of Adi Granov’s illustrations has literally sprung to life. Iron Man even solves the problem faced by a lot of masked superheroes by switched to a view from inside of the Iron Man helmet so that we can still see Stark’s face and stay emotionally connected to the character even when he’s in full armour and Iron Man is made all the more interesting since we see Stark building, testing, and perfecting the armour and because he constantly remains adaptable and flawed throughout the film.

Iron Man truly was the first tentative step into a much larger world…

Finally, there are the hints towards a much larger world. I remember watching Iron Man for the first time and never twigging that Coulson worked for S.H.I.E.L.D. since the acronym isn’t used until right at the end of the film and feeling like an idiot when they finally dropped the organisation’s name. Look closely in the background of one scene and you’ll see that Stark has Captain America’s shield in his workshop, Rhodey very nearly jumps into the Mark II suit for himself at one point, and the film ends not just with Stark’s impulsive declaration that he is Iron Man but also a visit from Nick Fury (Samuel L. Jackson), director of S.H.I.E.L.D. Again, I remember hearing rumours of this cameo back in the day and specifically waiting for the credits to finish to see if it was true and being absolutely blown away by the implications of the “Avenger Initiative” but I could never imagine what Iron Man would set in motion for superhero cinema (and cinema in general).

The Summary:
My experiences of Iron Man were extremely limited when the film first came out; I enjoyed watching his cartoons and saw him pop up in a few comics from time to time but, for me, he was definitely a low-tier Marvel superhero and I think it’s fair to say that’s true for a lot of people and the general audience at the time. Iron Man, however, changed all of that; more than that, it changed the superhero genre forever and brought some big names, big money, and big audiences to see these films in a way that no one could have predicted and which certainly hasn’t been replicated since. Even without the larger MCU to help bolster it, Iron Man is a hugely enjoyable science-fiction/superhero romp full of charismatic actors, impressive performances, amusing banter and dialogue, and top-notch special effects. Iron Man may have been a massive gamble for Marvel Studios, and may have been eclipsed by other, bigger films in the MCU, but it’s not to be underestimated. Even at the time, I remember sensing that I was witnessing something very special, something very different from other superhero films, and I’m happy to say that neither time nor repeated viewing has diminished Iron Man’s appeal in any way.

My Rating:

Rating: 5 out of 5.

Fantastic

What do you think about Iron Man? How did you find it as a story and as an origin for ol’ shellhead? Do you think it still holds up to this day? What did you think to the cast and the performances in the film? Were you a fan of the film’s special effects and soundtrack? What did you think to the use of Obadiah Stane as the film’s villain? What was your reaction when Nick Fury walked out of the shadows and when Stark admitted to his dual identity? What are some of your favourite Iron Man characters or stories? Where does Iron Man rank in your hierarchy of comic book characters? Are you doing anything to commemorate Iron Man’s debut appearance and, if so, what is it? Either way, I’d love to hear your thoughts on Iron Man so leave a comment below.

Talking Movies: The Invincible Iron Man

Released: 23 January 2007
Director: Patrick Archibald, Jay Oliva, and Frank Paur
Distributor:
Lionsgate
Budget:
Unknown
Stars:
Marc Worden, Gwendolyne Yeo, Fred Tatasciore, Rodney Saulsberry, and Elisa Gabrielli

The Plot:
When cocky industrialist Anthony “Tony” Stark’s (Worden) efforts to raise an ancient Chinese temple leads him to be seriously wounded and captured by enemy forces, he builds a mechanised suit of armour to escape and ends up embroiled in an ancient prophecy regarding a supernatural despot known as “The Mandarin” (Tatasciore).

The Background:
Before the Marvel Cinematic Universe (MCU) took cinemas by storm, Marvel had some notable success in the field of animation. While the X-Men animated series (1992 to 1997) remains one of their most celebrated efforts, other Marvel properties came to be adapted into cartoons, including ol’ shellhead himself, Iron Man. I used to watch the Iron Man cartoon (1994 to 1996) as a kid and, for the most part, this was my primary window into the character as I was more into Peter Parker/Spider-Man at the time. In 2004, perhaps as preparation for their upcoming series of live-action adaptations, Marvel entered into an agreement with Lions Gate Entertainment to produce ten direct-to-video animated features. The success of the Ultimate Avengers (Richardson, et al, 2006) features led to a solo feature for Iron Man and, while this film made notably less than its predecessors and was met with mixed reviews, this did little to deter Marvel from producing more animated features or their live-action efforts.

The Review:
The Invincible Iron Man is an interesting twist on the Iron Man formula that many may be accustomed to in that it’s perfectly happy to mix the supernatural and mystical with the character’s more technological aspects. While these elements have often been intertwined in the comics and led to many a story pitting science against magic, I have to say that I was a bit surprised to find the film having such an oriental flavour right from the get-go and intertwining Iron Man’s origin in with that of the mystical and prophecy regarding an “Iron Knight” opposing the entity known as the Mandarin.

Tony’s brazen attitude is a serious point of contention amongst his friends and family.

In China, James “Rhodey” Rhodes (Saulsberry) is overseeing the work on unearthing an ancient city. As if superstitions weren’t bad enough, the work is threatened by potential geological issues, and Tony Stark constantly letting Rhodey down in regards to supplies and resources for the project. Even worse is the constant threat of a terrorist group known as the Jade Dragons, who attack the site with bazookas. Frustrated, Rhodey tries to force Tony into action; Tony is aghast at the idea of sending munitions to help defend the site since he doesn’t want any bloodshed but, despite promising to fly out to support him, Tony finds himself more distracted by a gorgeous redhead. Tony’s cavalier attitude and arrogance aggravates his Board of Directors, who disagree with his excavation of the temple and have grown tired of his egotism and the secrecy regarding his scientific endeavours and even his father, Howard (John McCook), reluctantly agrees to cut Tony’s funding and influence off.

Tony is critically injured but kept alive to undo the raising of the Mandarin’s resting place.

At the site, a bombardment of sonic vibrations expand “liquid steel” to safely raise the entire lost city up to ground level. The Jade Dragons’ leader, Wong Chu (James Sie), adamantly opposes this and vows to kill anyone who gets in their way; though Li Mei (Yeo) openly defies this order, the attack is successful and Rhodey is taken prisoner, which is finally the kick up the ass Tony needs to get over there and get involved. However, this is all part of the plan for the Jade Dragons to ambush Tony’s convoy and, in the attack, he is not only also captured but critically injured as well. This presents another interesting twist on Iron Man’s origin where Tony is held captive alongside Rhodey as well as Ho Yin (Unknown/Unclear), and also that his entire capture was by a group of extremists trying to return the Mandarin’s tomb to the ground.

Tony’s armour comes in handy in battling the supernatural Elementals.

Unlike traditional depictions of the character, The Invincible Iron Man’s Mandarin is a purely mystical and supernatural entity of myth and magic; he is protected by the four Demon Elementals, which take the form of armoured, Samurai warriors. Thanks to Ho Yin and Rhodey’s background as an army medic, Tony’s life is saved by a crude iron lung, of sorts. After Ho Yin informs them of the legend of the Mandarin and is executed by Wong Chu, they construct an elaborate suit of armour to stop the Elementals, who are causing destruction all over the world in search of the ten rings that will resurrect the Mandarin.

The Nitty-Gritty:
If there’s one thing holding The Invincible Iron Man back, it’s the quality of the animation; while it’s okay, for the most part, and has a bit of a pseudo-anime flavour going on, it’s all very rigid and basic and a bit blurry around the edges. Similar to the Iron Man cartoon of the nineties, it also features an abundance of CGI animation, particularly in the depiction of the Demon Elementals, which lends them an otherworldly quality and helps realise them as creatures of magic.

The armours look pretty good and are quite varied but aren’t featured that much.

Rhodey is initially incensed to find out that Tony has secretly been constructing various armours behind his back; believing that Tony has betrayed his anti-weapons ideals, his concerns are set aside as all of those armours come in handy not only for tracking down the Mandarin’s rings but battling the Elementals. The CGI work on the armours is good, if maybe a little too “fluid” at times, and there are a decent array on show here, from the bulky grey armour to the submarine suit and the familiar red-and-gold armour that’s become Iron Man’s standard. Unlike other depictions of Iron Man, the actual construction and capabilities of the armours is of little consequence here; we don’t really learn anything about the Arc Reactor technology or the Repulsor blasts and there’s no allegorical scenes of Tony building the armour. They simply exist because he built them prior to the film, which is good on the one hand as it lets the film get to the fights a lot faster but also a little disappointing as seeing the construction and evolution of the armours is always a fun aspect of the character. Still, thanks to the Mandarin’s rings being hidden all over the world, Iron Man’s battles against the Demon Elements get to take place in such animated locations as the bottom of the ocean and inside a raging volcano. While the CGI in these fights can be a little jerky and wonky at times, they’re decent enough, for the most part, and add some visual variety to the proceedings (a fact helped by the inclusion of actual dragons for Iron Man to fight!)

Tony, Rhodes, and Pepper end up running afoul of S.H.I.E.L.D.

There’s also a couple of competing sub-plots at work in the film, including a bit of corporate intrigue surrounding Stark Industries and Howard’s insistence on directing the company (and Tony’s genius) towards weaponry. This leads to him running afoul of Strategic Hazard Intervention Espionage Logistics Directorate (S.H.I.E.L.D.) Agent Drake (John DeMita), who is potentially a prototype for Agent Coulson (Clark Gregg), and him and Rhodey finding themselves fugitives. It is also the cause of a great deal of animosity between Tony and his father as Howard is indirectly responsible for Tony and Rhodey’s capture and Ho Yin’s death since it was he (as in Howard) who supplied weapons to the site and thus armed the Jade Dragons.

Li Mei ends up being used as a pawn in the Mandarin’s resurrection.

While there isn’t a great deal for Virginia “Pepper” Potts (Gabrielli) to do other than offer dry witticisms and cover Tony’s escape and actions in her own way, Li Mei is a pivotal part of a crucial sub-plot in the film; initially depicted as a reluctant follower of Wong Chu, she is burdened by having been born a woman and thus judged as being insufficient to opposing the Mandarin in a strictly patriarchal society. There’s a bit of a brief romantic angle teased between her and Tony but, rather than being reduced to a mere prize for Tony to earn or a damsel to save, Li Mei strikes back against her oppressor when she shoots Wong Chu dead to help Tony and Rhodey escape and even travels to America to help Tony track down the last of the rings. Li Mei’s story turns out to be one of deception as, after Iron Man retrieves all of the rings, she claims them for herself and reveals that she tried to keep him away since she is destined to be the vessel for the Mandarin’s resurrection. Although despondent at her fate, and Tony’s decision to stand by her and thus fulfil the prophecy of the Iron Knight battling the Mandarin to the death, she nevertheless willingly allows the Mandarin’s malevolent spirit to posses her body for the finale. Thus, in another twist on the traditional depiction of the Mandarin as a Fu Manchu-type, the sorcerer is instead rendered as an ethereal force that inhabits and surrounds Li Mei’s naked body and wields incredible elemental powers. Ultimately, though, Iron Man is able to dispel the Mandarin not through brute force or technology but by appealing to Li Mei’s humanity, though she dies in the process. Having learned the value of responsibility and self-sacrifice, Tony returns to America makes amends with his father by buying a controlling interest in Stark Industries and giving ownership to Howard (who immediately fires the entire Board).

The Summary:
The Invincible Iron Man is a decent enough animated feature; it’s not exactly the most action-packed cartoon I’ve ever seen but there’s some interesting twists on the classic Iron Man formula that make it an entertaining watch, at times. The decision to tie Iron Man’s origin in with the Mandarin is a fascinating one; the two have always had a violent and storied history and represented the dichotomy of technology versus the supernatural and, to me, the Mandarin has always been Iron Man’s greatest foe. It’s disappointing, then, that the Mandarin doesn’t really show up until the final few minutes of the feature and in a greatly altered form; while the Demon Elementals fill the void on his behalf, a lot of the film seems like needless filler. The Invincible Iron Man seems to primarily function as a prequel to the Ultimate Avengers animated movie and, in that regard, it does help shed a little light on the character but there’s not really much Iron Man action for my liking and Marvel definitely did a better job representing the character in the nineties cartoon and the subsequent live-action films.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to The Invincible Iron Man? How do you think it compares to the other Iron Man cartoons, Marvel’s other animated efforts, and the character’s live-action movies? Did you like the twists presented in the film, specifically regarding Iron Man’s origin and the depiction of the Mandarin? Would you have liked to see more animated films in this style or were you never a fan of Marvel’s feature-length cartoons? Whatever your thoughts on The Invincible Iron Man, leave a comment below and check in next Monday for more Iron Man content.