Tagged: Iron Man

Emily S. Whitten: Literary Lacquers

I have a thing for rainbows. Ever since I was a little kid, I’ve always liked rainbows. Not the upside-down-smiley-face, fluffy-clouds-on-the-ends drawings of rainbows (I kind of don’t like those), but real, elusive, illuminated water droplets in the sky and spectrums created by prisms rainbows. I have even been known to run out into the rain to get pictures of a really good (really big) rainbow.

I also have a thing for nail polishes – my collection of colors and varieties is embarrassingly large – and have been known to play around with sort of complicated designs for kicks, including Teenage Mutant Ninja Turtle nails, Iron Man arc reactor nails, magnetic polish nails, and Union Jack nails. (And so many more, but I can’t find all the pictures, alas! You should have seen the Burberry nails.) I’m also always on the lookout for cool nail polish products, like for instance the Espionage Cosmetics geek nail wraps.

And of course (of course!) I love literature; and especially genre literature. So when I was browsing Etsy for some lilac jewelry to wear on April 28 in memory of Sir Terry Pratchett and stumbled upon a brand of a) holographic (rainbowy!) nail polishes b) inspired by literature, including a fair amount of genre literature, I was very excited. The pictures looked awesome, the descriptions were great (read them!), and the literary inspirations showed that the creator of these polishes is clearly a kindred spirit. I immediately wanted to try them all; so I contacted Literary Lacquers to see if I could get some samples to review, and the great gal behind the brand kindly obliged.

I was stoked to receive my samples a couple of days ago; a sentiment echoed by Catbug and Baby Groot. After much browsing of the many, many choices in the store, which included options from favorite literature like Discworld, The Dresden Files, Stardust, Lord of the Rings, Anne of Green Gables, The Chronicles of Narnia, A Wrinkle in Time, Harry Potter, Dandelion Wine, and so many more, I made my selections.

Based in part on what colors would actually look good with my skin (I craved Dandelion Wine but doubted it would work for me) I went with Phenomenal Woman, Strong Steady Hand, Avada Kedavra, The Mad Ones, Ether Binge, Swallowed Up In Blue, The Ultimate Outlaw, Marilla’s Amethyst Brooch, Laters, Baby, Sidewalk’s End, I’m Drinking Stars, and Goodnight Moon. I picked mostly holographics, given how much I love them, but threw in some other types for variety to see what the full line is like.

Right off the bat, I will say that they seem to be of a consistently good quality. They go on evenly, and with three coats (I do thin coats) they give me solid color coverage. (They could also be put over e.g. a light colored or silver or gold base coat for a light sheen on top.) They also seem to be fairly durable when it comes to chipping. I have only been wearing them for a couple of days; but in that time I’ve had no major chips and only a little bit of wearing off on the edges of a couple of nails (which happens with pretty much every polish I’ve ever tried).

Most importantly, the colors are great. Even though I have some difficulty in photographing holographic effects (they always look better in person!) here are photos of ten of the colors so you can see what they look like on and in comparison to each other. Also here are a couple of close-ups attempting to capture the holographic effect. And best of all for seeing the full effect, here’s a quick Vine video of Strong Steady Hand in action.

The pure holographics (Phenomenal Woman, The Mad Ones, Ether Binge, The Ultimate Outlaw, Sidewalk’s End, I’m Drinking Stars) all have a consistently high-quality holographic effect in bright light, and even in low light you can see a bit of a rainbow. The glitter holographics (Strong Stead Hand and Laters, Baby) have the same sheen, only outshone by the bigger glitter flecks. I really like these for the fact that the larger flecks of glitter add to the gradient rainbow effect of the holographic, and are of a brighter, more dimensional and holographic quality than glitter I’ve seen in other polishes. Swallowed Up In Blue, the holographic blue that also has a pink shimmer to it, is also particularly cool, because the holographic effect is as strong as the pure holos, but on top of it, even in low light, you can see the pink sheen over the blue.

Marilla’s Amethyst Brooch is one of the rare non-holos I chose; and although I always prefer rainbows, it has a good depth and rich purple glitter to it that is actually slightly more striking in low light than a pure holo. Goodnight Moon, another non-holo, is nice for its light purple sheen and tiny rainbow glitter, along with the bigger flecks, including moons. As with any of the larger glitter fleck polishes I’ve ever used, it needs to be applied with care to get the bigger flecks off of the brush and onto the nail, but it’s no harder to use than any similar polish I’ve used. Avada Kedavra, the only matte I chose (I like the look of mattes but have bad luck with them chipping) is very cool; without a top coat, three coats gives a nice slightly sheer black, with a much more evenly distributed coating of large glitter flecks than similar polishes I’ve tried; and chipping so far is no worse than for a regular polish. With a top coat, the mixed-in tiny rainbow glitter flecks are made brighter, which gives it a bit more pop.

Altogether, I am very impressed with this nail polish line (as well as with the cool themes and descriptions. You should read them! If you like any of the books that inspired them, the descriptions will make you feel happy and nostalgic for your favorites). I would not single out any color as a non-favorite; but I would say that my favorites of the pure holos by a small margin might be Phenomenal Woman, Ether Binge, and I’m Drinking Stars (the holos are particularly visible in them); and of the others, Strong Steady Hand (excellent bright rainbow effect!) Avada Kedavra (cool even glitter application, and can be worn two ways!), and Swallowed Up In Blue (good effects in both high and low lights!). In summary: I recommend!

So if you’re into literature, nail polish, rainbows, and the like, hop on over to Literary Lacquers and give some of these great colors a try. (And speaking of geek shopping, remember my recent column about it? Well I’ve just created a Pinterest board to show some of my favorite recent purchases. Check it out!)

And until next time, Servo Lectio!

Marc Alan Fishman: Iron Man Invented Ultron!

Did you see it? Did ya did ya did ya? The latest trailer to the future billion-dollar-blockbuster-to-be Avengers 2: Age of Ultron didn’t dance around the revisionist history of the cinematic 616. Ultron, once the product of Dr. Hank Pym – of Ant Man fame, don’t you know – has been shifted to the fatherly arms of one Tony Stark.

Now, the movie isn’t out yet, and I’ve abstained for seeking any real spoilers (that the trailer didn’t spoil itself). For all I know, Tony “invented” it the same way Microsoft invented the Zune. But, let’s just assume that in the world of Joss Whedon’s Marvelverse, Tony Stark did as he said: he attempted to create a solution to the ails of the world… and in doing so, created a would-be destructor instead. Simply put, this is a brilliant move by the boardroom of Mickey Mouse. Old school fans be damned.

An old adage I was taught in screenwriting class was that “you don’t put a gun on the table if you don’t plan on firing it.” The idea being that storytelling in a restricted amount of time (like a 150 minute movie) means sometimes having to consolidate resources. And while I’m sure I could have my ear talked off by someone older than me on the rich history of Pym’s creation of the aforementioned villain, it’d fall on deaf ears. The biggest reason: the story thus far in the Marvel movies has wonderfully built to this outcome.

Take a trip through Iron Man, Iron Man 2, Avengers, and Iron Man 3. The genesis to the Marvel Studios empire was built on the back of Anthony Stark: war-monger, philanthropist, martyr. It makes complete sense coming out of Avengers and Iron Man 3 that Tony would feel compelled to create a machine to solve the world’s problems. And it’d make even more sense he’d imbue it with a bit of his own panache. Any decent scientist will tell you the man who could invent Jarvis as presented is more than capable of creating the AI that wants to end humanity in order to save it. No one builds a monologuing AI better than Tony “Poke the Hulk in the Tuccus” Stark.

What I love even more than the choice to saddle Tony with the idea for Ultron is the potential stories that spin out of it. Akin to Grant Morrison’s astounding Tower of Babel arc in JLA, here the biggest threat to the Avengers (and the world at large) isn’t the rampaging id, alien demi-god, or right-wing cyclops… it’s the narcissist futurist. And given the name drop of Captain America: Civil War and the leaked stories of Tony’s appearance in it, it doesn’t take much brain power to see that Captain America may end up opposite his teammate over something as trivial as potentially almost ending the world. Plus, Tony also sorta created Whiplash and a fire-breathing Guy Pearce. If that’s not enough to go to war, then I don’t know my politics.

Beyond Cap there’s potential steam to be blown off by countless others. And what of Tony’s Science Bro, Dr. Banner? Maybe he’ll be more sympathetic to a man trying to quell the beasts of the world and messing up. And what of Black Widow or Hawkeye? One would imagine they aren’t ones to choose sides quickly. And then there is S.H.I.E.L.D. and all of that potential mess.

Whedon’s recent interviews have all beleaguered the point that with this sequel the story is decidedly more insular than the previous iteration. Avengers pretty much charged out of the gate swinging, and there was hardly time for Earth’s Mightiest Heroes to fraternize. Those critics devoid of our fanboy hearts saw the coming together of the menagerie of complex costume choices as being inherently explosive.

In simpler terms, put that many type-A personalities on one giant flying fortress and you were bound to have an alien invasion and the near destruction of New York City. Of course we’d all beg to differ, but the outsiders have a point. And it all comes back to Tony.

At the end of Iron Man we were introduced to the concept of the superteam – a­­nd the tin man was clearly at the core of it. When Tony stepped on the Triskelion, he treated it as if he owned it. And after he illegally downloaded all the secret files within, in a way he did. And he was quick to reveal to his fellow Avengers how secretive and potentially damning their would-be employers were. Forever the smartest man in the world… doomed to see his biggest ideas twisted into death and destruction. Tony Stark is karma’s bitch.

And Avengers 2 will be amazing because of it.

 

Tweeks: Experience The Marvel Experience

TweeksMEXthumbnailLast week, we went to The Marvel Experience during its stop in San Diego.  Taking place in seven large domes, visitors become S.H.I.E.L.D recruits who undergo training in order to fight alongside the Avengers against Hydra in a final showdown. It reminded us of a Marvel themed amusement park, but is it worth the ticket price (ranging from $24.50 to $34.50) when it comes your city?  Watch our review to find out.

Tweeks: A-Force Assemble!

TweeksA-ForceGuide

Last week when Marvel announced the all-female team of Avengers, you better believe we were stoked! We studied the A-Force artwork to figure out who everyone was and got right to researching the superheroes we didn’t know. Now, we’re even more excited and can’t wait  read Secret Wars in May.  In this week’s video we’ll tell you why A-Force is rad, which mutant powers we’d use to make lunch, and our thoughts on the girls not included (namely Maddy’s #2 favorite superhero, The Unbeatable Squirrel Girl). A-Force Assemble, indeed!

Marc Alan Fishman: Super-Hero Fantasy Football

My beloved Chicago Bears are a team in turmoil. After installing a new head coach roughly two seasons ago, the team has simply never gelled since. This being in spite of fielding a team that is built beautifully on paper. Suffice to say as a fan, I’m left crushed and crestfallen.

But whereas die-hard football fans would simply spend the remaining time of the current season hatewatching games and greedily predicting the firing of staff, I myself am choosing a path of less anguish. No denial, anger, bargaining, depression, or really even acceptance. I’m choosing instead the art of distraction. OK, sure I bet that files under denial, but c’mon: I’m not denying my Bears blew this season in all three phases of the game. Rather than wallow in it, I think it’s a better use of my time to use my somewhat encyclopedic knowledge of comic book characters to build my own team of comics-based footballery.

From time to time we’ve seen the occasional X-Men softball game. Or perhaps a few long-lost scenes of a young Clark Kent tossing the pigskin around. But no, here, I’m relying on the known commodity that is the playground What If game. Here, the rules are simple: I’m constructing my own team of comic book characters to be fielded against any of your chosen champions. In an ultimate contest of “…nuh-uh, my team is better!” It should be fun!

Head Coach: Batman

The best coaches are motivators and strategists. Not withstanding his physical abilities, the greatest asset of the Dark Knight truly is his mind. I could think of no one better to organize a team, develop strategies that capitalize on a team’s strengths, as well as poke holes in the opponents. And while no one on my team would necessarily attempt to “Win one for the Gipper” through some unspoken bond of camaraderie, let’s be honest: Bruce has enough bat-bucks to incentivize his team if the thrill of victory isn’t enough. Furthermore, if the man’s backup plans to defeat the JLA could be used to easily thwart the JLA, well, imagine what would happen if planning was his only job!

Quarterbacks: Captain America (starter), Hawkeye / Green Arrow (backups)

Face it, every team needs that moral center. And at the best teams within the NFL in my lifetime? You have your Tom Bradys, Peyton Mannings, Drew Breeses, and the like. They’re these good ol’ boys who can make stars out of everybody around them. They rally to save the day. They don’t make stupid mistakes when the chips are down. Captain America is all of that and more. He’s a leader – natch – a strategist, and more than capable of firing an accurate projectile. Simply put, there’s no way I could found my team without him at the helm on the field of battle. And as a safe backups? The archers are just safe bets to move the ball accurately across the field.

Running Back / Fullback: The Flash, Juggernaut

When it comes to setting the run down, I’m a firm believer in potent tandems. The Flash is of course the speed on the team. Get the ball in his hand, set his blocks, and he’s in the red zone before you can blink. And when finesse isn’t needed on the goal line? Just put it in the hands of the unstoppable force. And if you don’t believe this balance works? Go ask the 85′ Bears’ Walter Peyton and Walter Perry.

Wide Receivers: Hawkman, Spider-Man, Mister Miracle

The ability to “go up and get it” is my primary concern. Having a natural flyer, a first-class acrobat, and a man who can literally get out of any coverage he might be in, all in order to come down with the ball? Well, that spells yardage to me. And certainly in all three cases, getting yards after catch is clearly not a concern.

The Offensive Line: The Blob (Center), Colossus and Strong Guy (Guards), Bishop and Groot (Setting the edge)

When it comes to protecting the QB, I can think of no line better. I basically built off the idea of immobile behemoths who can stand as a literal human (and tree) wall, from which Captain America can stand behind full-well knowing he has precious time to survey the field. And considering the line consists of an immovable object, two top-heavy strong-men, a guy who can absorb kinetic energy, and a living tree who can at least make things thorny if a linebacker slips by… I’m pretty well set.

Tight End: Beast (starter), Hal Jordan (backup)

A good tight end is many things to a team. He’s a lead-blocker. A pass-catcher. A known diversion. Basically, in my eyes… a wildcard capable of disrupting a defense in any number of situations. I believe with a thinker like Beast lining up, I’d gain insight, agility, and raw strength when needed. And should he be too physical a presence? Well, ole’ Hal and his trust emerald ring of power would do plenty to keep an opposing defender distracted. And hey, no one said you can’t catch a pass with a giant boxing glove, right?

The Defensive Line: Solomon Grundy, Grodd, Doomsday, The Thing

Forgive me: I just wanted four big, mean, nasty dudes ready to tear apart anything that moves when the ball is hiked. I give myself +5 points for choosing a monkey with telepathic powers to boot.

Linebackers: Thor, Hulk, Wonder Woman

Much like the D-Line, my LBs are all about aggression. But unlike Grundy and the gang, here I wanted to add a bit of mobility. While Hulk isn’t exactly light in the loafers… he more than makes up for it with the ability to leap great distances. And anyone who tried to skirt past either of my demi-gods will be eating dirt I say. Verily!

Safeties: Iceman, Plastic Man

Hear me out on this one kiddos. Safeties are those choice defensemen that disrupt any number of offensive tricks. Sending a great receiver down the field? Good luck doing it with ice under foot! Or if I choose to send an odd blitzer, what better to do it then a red and flesh colored bulldozer, complete with wacky sound effects? Nothing. Nothing is better than that.

Corner Backs: Wolverine, The Human Torch

A good corner is the type of guy willing to ride a receiver down the line every step of the way, and when the ball comes sailing towards their hands… no quarter is given. I could easily see “the best there is at what he does” being the type of evil scrapper than would ensure if a catch were to be pulled down… there’d be a short Canadian right there to make him pay. And if an adamantium-laced brawler isn’t doing it for you, how about a man literally on fire? Catch that ball with the heat of the sun literally breathing down your back. I dare you.

And last but not least… the kicker: Iron Man

Because Batman is the coach, and he’d probably get a kick out of a drunk punter.

I know I went a bit long, but I hope it got your gears spinning. So, who would be on your team?

 

Mike Gold Kisses Up To Robert Downey Jr.

Right now, the pop media is full of stories about how Robert Downey Jr. is about to sign on to Captain America 3. Evidently, the only thing holding up the deal was his amount of screentime: he wanted more. He really wants this to be a true Marvel-style crossover, ushering in the Cinematic Universe’s adaptation of the first Civil War storyline.

I think Downey has a very strong understanding of how the Marvel Universe works, and how to bring that over to the movies. This crossover flies in the face of the movie star image: he’s fighting hard to be the second banana in a movie titled after somebody else. It’s hard to imagine Al Jolson doing that.

O.K. He gets it. Other than making a potentially fun movie happen, how does that affect us?

Well, for me and hundreds – now, maybe, thousands – it protects our jobs. This, in turn, protects the future of the comics medium in America.

Prior to Iron Man 1, the comics business was on the ropes and heading into the worst economic crisis we have seen since The Great Depression of 1929 – 1941. Then this particular movie, starring a number of actors who really were no longer “A Listers” at that time and featuring a property that was hard-pressed to be considered a “B Lister,” was unleashed on a world in need of some high-quality diversion. And the comics business has never been the same.

Let’s face it: the profits of even one well-received movie can eclipse the profits made by that property in its entire history of publishing. Fine. Something’s got to provide fuel for the engine, and shoveling in flatcars full of money usually works.

Lots of such movies started being made, and most of those produced by Marvel Studios made just unbelievable amounts of cash. Some of the others didn’t do badly either, although Batman has its own momentum and Superman has been treated like a leper. And, now, Batman has to bail out the Superman franchise.

A year after Iron Man’s release, Disney bought Marvel Comics for a mere four billion bucks. That’s not publishing money, that’s not even movie money. That’s movie-and-licensing-for-movies-and-television-and-new-media money. Yep, that’s Steve Jobs’ face on the one billion dollar bill.

Only one month later, Warner Bros. took control of DC Comics, renaming it DC Entertainment in a fit of reality. They started measures to move the company to the left coast, a process to be completed sometime in late spring.

Whereas I’m not crazy about Hollywood running a marginal industry that it (and most MBAs) does not understand and wouldn’t believe if they did, it beats oblivion. And let’s face it, you cannot keep your stockholders happy with profits that would barely impress even the most conservative investor.

And we owe it all to Robert Downey Jr. His performance was electrifying, akin to Orson Welles’ Harry Lime. We wanted to see more, and by “we” I mean moviegoers, not just the ever-tightening circle of comics fans. Iron Man probably would have been a fine movie without him, but with him we were able to root for the previously-troubled actor at the same time as we were rooting for his character.

So, Mr. Downey, on behalf of the Greater Comic Book Community, I thank you for helping keep our jobs alive.

Next time, lunch is on me.

 

Marc Alan Fishman: But Why A Comic Book?

FreakanomicsLately, I’ve become a freak. That is to say, a fan of the Freakanomics Podcast. Stephen Dubner and Steve Levitt like to take a topic and ask the questions no one is asking. They also like to start from the opposing side of the common problem in order to find potential solutions. As such, I figured I would let their methodology bleed into my brainpan. I want to tackle a question I’ve had lately and approach it from a different perspective than I’m used to. The problem is simple: With all the more lucrative business ventures that exist for the largest publishers of marketing licenses (that’s DC and Marvel, kiddos), why produce comic books?

Because I’m not an economist and I don’t have the will power to sift through sales data, I’m going to opt to go out on a limb instead. I believe that it’s safe to say that the revenue that comes in for a blockbuster comic book movie – and all the associated merchandising and licensing revenue associated directly to said movie – outweighs the revenue generated from the parent comic book in levels of magnitude that’d astound even Lex Luthor. That in turn would make the common man scoff. Why would Marvel and DC, peddlers of the most recognizably licensable properties, waste any money chasing the paltry profits that stem from their publishing arms, and not just opt to make movies and television? It’s time to freak out.

If I were Mr. Dubner, I’d likely start with the history first. Obviously DC and Marvel have dabbled in non-comic book ventures nearly as long as they have been printing funny books. Look to the Superman serials, radio shows, TV series, et al. And Marvel, too, had their run of crappy movies, TV shows, and odd proto-motion-comic ventures to boot. In their time, perhaps these alternative media led new eyes to the products. More likely though, those models in the past never doled out the bankroll like todays modern day media. At the heart of all those aforementioned side projects though, one would argue that the real crux of content being produced was driven by the rags on the racks. And therein lies the answer to the original question.

Beyond the likely-break-even nature of comic book publishing, the actual process of producing the product establishes worth beyond simple dollars and cents. Because a great comic book story may give birth to an amazing storyline, a new character, or an inventive design. Where might Jon Favreau’s Iron Man franchise be if not for Adi Granov’s ubiquitous model? Would the pockets of the Warner Bros be as full without the library of reproducible stock art for any number of merchandising ventures? Would the House of Mouse’s motion picture business be as entrenched in the zeitgeist today if not for the decades of source material being produced on a weekly basis? And if we’re thinking to a brighter future… How much credit is owed to ComicMix’s John Ostrander if Amanda Waller ends up becoming the Phil Coulson of the new DC movie franchises? Suffice to say on all counts… the sunk costs of producing sequential fiction is a pithy particle when compared to the opportunity cost you’ll gain for making it.

Even if a comic doesn’t sell well – or even is a loss – the final product exists for eternity thereafter. If I as a fan pick up that long forgotten issue of Slingers and pitch it to Marvel in a new and fantastic light, and my relaunch of the title captures the attention of the niche masses of comic book fans, then the thru-line exists that the new book may lead to a new licensable property – like a new character on a cartoon, a subplot to be used in Agents of S.H.I.E.L.D., or its own Netflix spin-off. The simple math says the loss having to pay for even six issues worth of ink-and-paper (including the per-page costs of the creative team, the salaried cost of editors/administrators, as well as the actual material and distribution costs) may eventually balance out through the usage of the intellectual property that then sits in the archives of the parent publisher. A bad batch of Coke II will never mint Coca-Cola a fortune. And in a few weeks, D-List book will likely net Marvel hundreds of millions of dollars in repeating revenue.

When you think of it that way: why would you ever notproduce a comic book?

 

The Point Radio: OUTLANDER Is Coming – Soon!

For OUTLANDER fans, the wait is almost over. The mega big book series hits the Starz Network in just a couple of weeks (with a sneak preview on August 2nd). Producer Ronald Moore and author Diana Gabaldon talk about the road from book to camera. Plus actor Jay Hernandez, from the Fox summer hit GANG RELATED, talks about making good choices in acting roles and Marvel revives Tony Stark’s ego.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

Marc Alan Fishman’s Snarky Synopsis: Hulk Vs. Iron Man 2014

Hulk vs Iron-ManWritten by Mark Waid and Kieron Gillen. Art by Mark Bagley, Andrew Hennessey, and Jason Kieth

After last week’s insane rant, I came onto a book like Original Sin: Hulk Vs. Iron Man with both arms up. Let’s face facts: Hulk and Iron Man seem to fight once a year. If not in the 616, then in the Ultimate Universe, or any other iteration of the Marvel U. It’s like they’re a match made in pugilistic heaven. One man, the unstoppable juggernaut… the other a walking arsenal. It’s short range versus long range. It’s rage versus hubris. And really… it’s beating a dead horse by now, isn’t it? Each time they fight, Tony unloads a continent-stopping amount of tech and boom-boom-booms on the emerald giant, who is phased long enough to get pissed, and then we cue epic punching. Tony flies and flails, maybe has a little inner-caption angst party, and then we repeat the cycle. Maybe Steve Rogers or Maria Hill jump in after a while to stop the fracas. Suffice to say, Hulk and Iron Man have been done just about as much as Batman and the G-D-Joker.

How amazing is it then that Mark Waid and Kieron Gillen play a little retcon-history gambit and come out unscathed! This issue, spending most of its running time setting the scene, is a shining example of being able to use common tropes in all the right ways. Here is an issue that truly is made better by the sum of its parts, than it is when you deconstruct it. And what an amazing segue that was. Let’s cut this sumbitch’ open then, aye?

So, the skinny is simple: The Watcher was murdered. A mort came out and declared he was the dude who done did it. He didn’t. But he was able to attack a ton of Earth’s Mightiest Heroes with a psychic bob-omb. And with that attack, each hero – or pair of heroes in this case – get a big ole’ chunk of Watcher-vision in their brainpans. Specific to this book, Tony and Bruce Banner share their memories chained to the fateful detonation of a gamma bomb. And the SPOILER retcon of it all: Tony tinkered with Bruce’s bomb. Yup, while both Mr. Stark and Banner were science bros at one time in their youth… at a pivotal time when they were truly working to hone their identities, they ended up on either side of a potent fence. Bruce, the pacifist. Tony, the war monger. And one pithy, snarky barb begat another, and soon thereafter, Tony (in his alcoholic days, mind you) took Bruce to task for potentially inhibiting his gamma bomb. Throw in Thunderbolt Ross, and presto! Revisionist Marvel history that bleeds into why this book should matter.

And matter it does. As I’d noted before, there’s little to no need now to show another green goliath versus the tin can man bout. But, like Vince McMahon, Mark Waid and Kieron Gillen know that with the right story even the umpteenth fight can matter a whole lot. By introducing this snag into the history of the Hulk, and layering it over the current storyline in Waid’s Hulk-ongoing – where Bruce himself is now laced with Extremis in his cerebral cortex – we end up with a fight that is built on far more than another silly misunderstanding. And because the Extemis in Hulk’s brain now brings Banner to the forefront of his angrier half, there’s a level of threat raised here to an all-out extreme. An angry Hulk is still handicapped by his less-than-stellar thought capacity. But a smart Hulk is indeed a scary thing. Especially true when the whole “the angrier he gets the stronger he gets” card is played.

I’d noted above how this was a book of tropes. And let it be stated for the record: this is. Waid and Gillen’s plot is so by-the-numbers, it nearly stings. Or maybe it just stinks. Having to use revisionist history to create conflict is such a comic-book thing to do, I’m left again wondering if that is the modus operandi of Gillen – who I called out for doing as such in his recent stint on Iron Man. I’m all about playing to the cheap seats mind you (I do love pro-wrestling… I mean… sports entertainment after all). But when the rest of the script is really just getting us from point A to point B, there’s little to celebrate specifically about the delivery. There’s really just the employment of typical flashback – flash forward presentation after an action-packed cold-open. Maybe I’m still grumpy over Future’s End, but when I see Waid’s name on a cover these days, I expect greatness.

Artistically, you can’t get more straight-line-bombastic than Mark Bagley. He’s kinetic, epic, and clean in his storytelling. He doesn’t try to bend the rules… he doesn’t need to. It’s akin to Ocean’s Eleven as recreated by Soderbergh – this is a master playing a riff on common themes. As we all know Bagley’s ability to whip out acceptably modern comic book pages, you’re getting exactly what you’d expect from this book. And as a bonus Scooby snack… we also get a few attempts to stretch the common style. Andrew Hennessey’s inks, and Jason Kieth’s colors render an even slicker Bagley page than one is used to. Specifically Kieth’s bold choice of colors, and smart use of glows and knockouts elevate the final product to the epic-crossover level one can appreciate. Knowing that this is Marvel’s flagship blockbuster for the summer, here the art team does their job swimmingly, in giving us visuals that play to the strengths of the script.

Original Sin: Hulk Vs. Iron Man is the kind of popcorn-comic I can get behind. While it’s a bit of a copout to need to introduce new history in order to carry a story, here things move so briskly we hardly have time to savor it. And because of that smart pacing, we’re left with an inaugural chapter amidst the ever-winding checklist within the event that gives us real foot holes to anchor ourselves in for the next chapter. While I’m still not at all interested in who killed the Watcher, I can hang my hat on Hulk’s deserved rage. And therein lies the real point to why I’ll celebrate this book one week and trash DC’s attempt just seven days prior. Original Sin pays attention to the story and reasoning behind it, rather than merely announce “it’s time for punching and new team affiliations!” While the underlying structure may not be all that different, at the end of the day it’s the technique and execution that elevated Mickey’s efforts far more than the Brothers Warners has in a good long while.