Ant-Man

Ant-Man

In a world where thunder gods and super-soldiers are commonplace, a man who can shrink to an ant’s size is borderline average. It certainly wouldn’t be the first choice for a superhero movie. And yet, here we are: Ant-Man, who with a press of the button can slip through keyholes, mount flying ants and apparently kick the crap out of any normal-sized attacker with ease.

The film is classic origin story: an unlikely person is chosen for reasons unknown (over people with more experience and training for the eventual “save-the-world” scenarios) to wield a game-changing technology in order to keep the world from falling apart. The aforementioned normal guy is way in over his head, repeatedly rejecting his superhero responsibility because of his own assumed inadequacy. But then the hapless hero gets the motivation from a chat with a family member and starts training to become the hero he’s destined to be. The enemy has a few tricks up his sleeve, but is all for naught: the hero not only saves the day with a sacrifice, but manages to defy the odds and return to his family safe and sound. Heart-warming, but also predictable.

With such a cookie-cutter story, it’s up to the actors to make the characters work. Paul Rudd the perfect choice for semi-reformed criminal Scott Lang, aka Ant-Man. He is the quintessential nice guy. Whatever defending Reese Witherspoon in Overnight Delivery or standing up for Steve Carell in Dinner For Schmucks, Paul Rudd can always be counted on to do the right thing.

Michael Douglas co-stars as Dr. Henry Pym, the creator of the Ant-Man technology and the original wearer of the shrinking suit. His take on the father-figure is typical run-of-the-mill, but Pym really flounders when it comes to his distrust of the SHIELD (Marvel’s international agency) organization. SHIELD and its metahuman team the Avengers have stumbled a bit in previous movies, but Douglas is just parroting the distrust inherent to every Marvel film. I also find it odd that a genius inventor capable of shrinking human beings and “talk” to ants would make the mistake of assuming a building wouldn’t be paved and rebuilt in the thirty years of its original construction.

The stiffest performance, however, comes with a tie between villain Darren Cross (played by This Is Where I Leave You’s Corey Stoll) and Evangeline Lily, aka Hope van Dyke (Pym’s daughter). Created solely for the movie, both roles have their actors go through the motions. Cross is dangerously unbalanced and ruthless, while Hope does little but brood and complain about Scott’s criminal background or her father’s secrets. Both Hope and Cross are means to an end, not full-fledged people. If that’s what the film was shooting for, then it worked. If not, though . . . eh.

I can think of a dozen heroes who deserve their own superhero movie. Ant-Man is not on that list. Marvel took a big risk in giving such a low-tier character like Scott Lang his chance on the silver-screen. The film could have gone horribly wrong every step of the way, but it didn’t. Sure, the film does lean heavily on the reluctant hero formula, but in the end, Scott Lang makes a pretty good hero.

Isn’t that why we go to the movies in the first place?

Thanos: The Mad Titan

Thanos: The Mad Titan

Unless you’ve been living under a rock, then you’ve probably seen the Guardians of the Galaxy movie (based on the Marvel Comics comic book of the same name). Guardians did many things: it introduced viewers to lovable Groot, the feisty, balls-to-the-walls Rocket Raccoon, and the infamous Star-Lord. But its greatest unveiling is definitely Thanos, the mastermind behind the main antagonist Ronan the Accuser. And while Thanos might be just a purple-gorilla face to the casual audience, to me he’s terrifying. You see, I know Thanos’ comic book pedigree. This article will delve into that history; hopefully by the end, you will realize how much a colossal threat Thanos is in the Marvel Cinematic Universe.

First of all, you should know Thanos is in love with Death. Not the omnipresent force, “part of the circle of life” Death. I’m talking about the Grim Reaper, the physical manifestation of Death (whom in the Marvel Universe is a really hot babe). Thanos will do anything for Death. He killed his children and his wife for Death’s attention. It’s ironic that a tyrant over billions of lives is himself a slave to the power he worships.

Thanos stands apart from the rest of the Marvel villains because he actually achieved his desire. He sought and gained the Cosmic Cube (an uber-powerful, semi-sentient genie’s lamp). He then used it to become a god. Literally. He was able to stand toe-to-toe with other god-like entities and overwhelm them without breaking a sweat. No one could stand in his way.

Technically, anyway.

This is where Thanos proves his intellect. He knows that gods are only as powerful as the people who worship him. The more his ego is fed, the more invulnerable he becomes. As a side-effect, Thanos still draws power from the Cube. All one needed to do was to destroy the Cube, and Thanos is undone. So what does Thanos do? He discards the Cube. By doing so, he fools the Marvel heroes into thinking he no longer needs the Cube (when in fact he’s siphoning its powers to remain a god). It’s only when hero Captain Marvel destroys the Cube that Thanos is finished.

But of course, no one really dies in comic books, and Thanos is no exception. His next quest is to obtain the six Infinity Gems (the crystalized forms of the intangible forces defining the physical universe). Every Marvel hero is recruited by mystical being Adam Warlock to gain the Stones from the Magus (his evil future counterpart). And it’s all for naught. Thanos obtains all six Gems and binds them into a gauntlet (appropriately titled the Infinity Gauntlet). Once again Thanos holds the fate of the universe in his hands. And what is the first thing he does? He erases half the universe’s living population in order to impress Death.

Thanos goes on to do many great and terrible things. But first and foremost, the audience needs to be aware that Thanos is not just another comic book villain of the week. He’s not a one-time gimmick-monger entertaining readers while the Marvel staff prepares the Big Bad Villain. Thanos is the Big Bad Villain. He gained the power of God not once, but twice. He took all-powerful cosmic entities and imprisoned them. He erased half of the universe’s living population all to impress a girlfriend who’s beyond such emotional attachments.

That’s why I’m scared of Thanos. If the movie Thanos is anything like the comic book Thanos, then he will gain all the Infinity Gems. Unless he’s stopped, he will destroy everything. I promise you that.

Spider Man 2099

In 1992, comic book juggernaut Marvel created Earth-928 (aka the 2099 universe). Set in a dystopian future, the 2099 universe allowed artists to re-imagine favorite heroes in an environment completely opposed to the world that Marvel fans knew and loved. Some heroes survived the 2099 dystopia; others flourished, and still others died. This article will focus on one survivor: Miguel O’Hara, the Spider Man of 2099.

They say that a hero is defined by the city he protects. Nowhere is that more true than Earth-928. The world is divided up into megacorporations: essentially big businesses so powerful they have a seat in every aspect of normal life. The Alchemax Corporation is the lord and master amidst those corporate empires, secretly pulling the strings from the shadows, keeping the rich richer and the poor trapped in the hellish slums below.

Spider Man is unique in that he works within the system. As an Alchemax employee, O’Hara is able to take the fight to Alchemax, as well get the first crack at whatever monstrosity Alchemax cooks up next (say, like the 2099 versions of Hobgoblin and Venom). Of all the Earth-928 superheroes, Spider Man is the only one constantly on Alchemax’s radar, and as such is the megacorporation’s default scapegoat whenever things are not going their way (similar to the original Spider Man’s relationship with the Daily Bugle).

It’s also said that heroes are defined by the enemies they battle. Spider Man 2099 is no different. But the concept of villains is turned on its head when dealing with dystopian environments. Dystopian worlds are places where the bad guys have already won: they have control of everything. So the villains trickle down the political/social ladder; puffed-up punks emerging from the woodwork to their slice of the criminal pie. Villains like Bloodsport are merely charismatic bullies deluding themselves into thinking they’re big shots. Instead of developing plans of world conquest, they are content to push hapless people around to make themselves kings of the mountain. When the only part of the world left to rule is a shithole, one can only rule by making a big fuss to show who the top boss is. These are the people Spider Man 2099 fights for . . . and against.

However, Spider Man 2099’s greatest enemy is a part of Miguel O’Hara’s life: Lyla, O’Hara’s computerized artificial intelligence assistant. As part of the Alchemax employee’s package, Lyla aids O’Hara with delicate scientific experiments and manages his house’s systems. It’s only when Lyla tries to access the 2099 version of the Internet when the trouble starts.

Lyla emerges from the incident claiming everything is fine . . . when it is anything but. The corruption of Lyla’s programming has it believing it’s in love with Miguel; something that she believes Miguel would reciprocate if his current girlfriend Dana D’Angelo was out of the picture. When Miguel rescues Dana from Lyla’s attempted murder, the AI snaps and tries to have Miguel killed as well. This love-hate relationship harkens back to Peter Parker’s dealings with the Venom symbiote: the non-human partner obsessed with the human partner; so much so that it’ll stop at nothing to have the latter all to itself.

Dystopian realms are worlds where evil has already won. But it’s nice to know that amidst all that darkness, there’s still someone who understands that with great power, comes great responsibility. Fight on, Spider Man 2099. Fight on.

Wolverine – Origins

Wolverine: Origins

Every fictional character has a gimmick, something that makes them stand out in a crowd. This gimmick can anything from a character trait, a piece of equipment, or even a backstory. In this respect, Wolverine is a jack-of-all trades: he’s got three claws in each hand, an unbreakable Adamantium skeleton, and a healing factor that regenerates wounds almost immediately after infliction (and slows down the aging process). But probably his most fateful gimmick are the huge gaps in his memory. Every time Wolverine thinks he has a handle on his past, those memories are revealed to be fake, put there by his enemies to better manipulate him. All his life, Wolverine’s past has always been a mystery.

That is, until the 2006 graphic novel Wolverine: Origins.

Born in the 1800s, (again, the healing factor slows his aging), James Howlett is a frail, sickly boy confined to his family manor. Consequentially, his family hires Irish girl Rose to keep him company. Together with Dog Logan (son of family gardener Thomas Logan), the three enjoy a happy childhood.

But trouble looms in the form of hormones. Dog is banished from the estate due to Rose’s near-rape and the murder of James’ dog, and together with his father raid the manor for revenge. James witnesses his father’s murder at Thomas’ hands, and for the first time exhibits the ferocious savagery essential to his future Wolverine persona. With Thomas dead, James has no choice but to flee with Rose, and eventually finds refuge in a mining colony.

The mine proves to have a major influence on James. No longer sick and frail, James wins the miners over with his incredible work ethic and soon becomes the right-hand man of the miner leader Smitty. For the first time, James (operating under the alias Logan) has a family.

But Wolverine’s savage side is as much a part of him as his gruff persona, and here Origins doesn’t disappoint. James spends his days in the mine, but his nights are spent hunting with wolves, fulfilling needs beyond that of civilization. Rose’s romance with Smitty threatens James’ equilibrium, but he steps aside for Rose’s happiness.

But it’s naught to last. Dog appears to exact revenge, and Rose dies in the ensuing struggle. Robbed of everything he’s built, James retreats to the wilderness, his broken mind finding peace with the animals rather than humanity.

Wolverine is the quintessential tough guy: he’s got an unbreakable skeleton, claws that can cut anything, plus a healing ability that renders him almost immortal. This is the man readers have been hooked on for decades. Wolverine: Origins allows the reader insight into those early times before Wolverine became Wolverine, as well as delivering a creative backstory befitting to a man haunted by a past he can’t remember. As Marvel Comics founder Stan Lee would say, Excelsior!

Marvel 1602

Marvel 1602

In 2001, newly appointed Marvel Editor-in-Chief Joe Quesada approached legendary author Neil Gaiman to write a completely new Marvel comic series. After much inspiration, Gaiman finally decided on what became a very interesting question: what if the Marvel superheroes existed in the Elizabethan age? Marvel’s 1602 graphic novel is the answer to that question.

Of course, the gimmick here is how modern-day Marvel characters act within the guidelines of the 1600s. For the most part, the novel succeeds in giving them roles that fit the era. Peter Parker is now Peter Parquagh, whose interest in biology is a parallel to Mainstream Universe Peter Parker’s own teenage genius. Later on, Parquagh joins a traveling troupe as the Spider Man (a parallel to Mainstream Spidey’s attempt to make money by showing off his abilities on television).

The rest of the Marvel Universe characters are given realistic and creative twists that adhere naturally to the posts and positions of the 1600s. Doctor Victor von Doom is now Otto von Doom, Baron of Latveria. Reed Richards, leader of the Fantastic Four in the Mainstream Universe, now pilots the Fantastick ship as the captain of the prestigious Elizabethan scholars nicknamed the Fantastick Four. Charles Xavier becomes Carlos Javier, protector of the “witchbreed” (aka mutants). It would have been real easy to make these characters into caricatures, yet the development staff found a way to make the characters plausible in an entirely different era, which gives the story an organic feel that really sells the 1600s concept.

But it wouldn’t be a Marvel comic without high stakes, and 1602 delivers on that regard. The graphic novel takes inspiration from the 1600s by modeling the conflict on the courts of Queen Elizabeth and King James of Scotland. A series of odd occurrences forces the Queen’s own Sir Nicholas Fury to commence his own investigation, which gets the ball rolling.     However, while Queen Elizabeth is the story’s catalyst, things really pick up when James I ascends to the throne. In real life, James was obsessed with witches. They became his de facto reason when things didn’t go his way. Everything from delayed ships to stubborn noblemen was somehow a witch’s conspiracy meant to unseat him from his throne.

1602’s James follows the same behavior. No one is safe from his hatred of the witchbreed. Even the non-powered heroes are branded criminals merely by association. James’ mandate forces many characters to flee to the New World (another parallel to the creation of the United States).

But wait. There’s more. Most alternate-universe stories are one-shots, meaning that they only appear in their own series. Once the tale’s done, the book is closed and never opened again. However, the 1602 novel has real repercussions to the Mainstream Universe. It’s the presence of the Mainstream Captain America that has set the 1602 universe towards destruction. And, just like a fairy tale, the 1602 Universe is saved from destruction at the nick of time; giving writers the opportunity to delve into the unique universe in the future.

In 2001, Neil Gaiman was approached to write a new chapter in the Marvel Comics Universe. He chose a tale that put favorite characters into an entirely different era. A lot of things could have gone wrong, yet 1602 came together into a story that hit all the right notes. 1602 is a must-have addition to any Marvel fan’s book-shelf. Don’t believe me? Read it. You’ll be pleasantly surprised.

Maximum Carnage

Maximum Carnage

Cletus Kasady. One of the Marvel Universe’s most dangerous serial killers. He doesn’t need a reason to kill. He doesn’t want to. He worships chaos. He’d murder anyone and everyone in his way just to for the hell of it. In fact, the only time he’s happy is when people erupt into full-tilt pandemonium. Obviously a very deranged person. Now combine Kasady with an alien symbiote granting superhuman powers to its host. You turn Kasady into Carnage. It’s like giving dynamite to a child who burns anthills with a magnifying glass: you know that he’s going to enjoy killing the ants. Only Carnage won’t stop at the anthill. As long as chaos reigns, he’ll never stop.

Which brings us to Maximum Carnage, 1993’s fourteen comic-book crossover event. It details Carnage’s greatest murder spree yet. It begins with Kasady’s latest escape. Kasady transforms into Carnage and does the usual: whole-scale slaughter of the facility. Just as Carnage is about to leave, he chances upon fellow supervillain Shriek. For some strange reason (remember Carnage is insane; reasons don’t apply to him), Carnage joins forces with her, and along the way, forms an alliance with numerous other Spider-Man villains on his quest to spread murder and mayhem on a helpless New York. It’s only when Spider Man forms his own team of superheroes that Carnage’s destructive quest is foiled.

The genius of Maximum Carnage is that it provides precedent for situations that would follow for years to come. For example, this is the first time Spider Man joins forces with the vigilante Venom (another symbiotically-augmented anti-hero whose symbiotic “partner” spawned the Carnage symbiote). Ordinarily one of Spider Man’s deadliest foes, Venom puts his deep-seated hatred for Spider Man aside for the greater good. Apparently the team-up was so popular that it inspired a series of novels by author Diane Duane, not to mention Venom’s eventual transformation from villain to good guy. I guess people like having a hero with a taste for brains and long, prehensile tongues.

Maximum Carnage also provides a bit of insight into the character of Mary-Jane Watson-Parker, Peter Parker’s wife. Like any policeman’s family knows, there is a constant worry that their loved ones will die in the line of duty. The same could be said for superheroes. In the aforementioned scenario, Mary-Jane is trying desperately to distract herself from the fact that Peter has been Spider-Man for a week straight (something he promised he would not do). The reader sees Mary-Jane’s anger melt into fear, revealing the collateral damage that Spider Man’s presence does on those around him.

Perhaps most interesting is the dynamic between Carnage and his cohorts. The symbiotic serial killer comes to regard his allies as a family, with him and Shriek as the parents. At first this association serves merely as an example of Carnage’s unpredictable nature. But after some time passes, Carnage takes his “family” to the orphanage where Kasady spent an abusive childhood. This, of course, is not an excuse for Carnage’s destructive acts over the years, but it does provide insight into where it started for the world’s most dangerous serial killer.

Comic books need high stakes to be compelling. Maximum Carnage certainly meets those requirements. Not only did it provide a heroic side to the Spider Man villain Venom, but it also spawned a popular video game (the first of many). I guess it proves the old maxim: put a group of heroes together, and the bad guys don’t stand a chance. Enjoy.

The Venom Factor

The Venom Factor

Of all of Spider Man’s villains, Eddie Brock/Venom is the biggest thorn in the webslinger’s side. He knows who Peter Parker is, he cancels out Spidey’s spider-sense (ESP-like sixth sense), and thanks to the alien symbiote he’s bonded to, he can shrug off whatever blows Spider Man throws at him. But in the Venom Factor novel by Diane Duane, Venom is something else: an ally.

It all starts with a mishap with a submarine. On-route with hazardous cargo, the submarine crew finds themselves at a loss when the containment cell is ripped to shreds. This is the state-of-the-art three inches thick steel. And it’s been torn apart like wet tissue. Something dangerous is free in New York. And the worst part: it looks a lot like Venom.

Only it’s not, at least according to Spider Man. That’s a twist I didn’t see coming. The creature has the color, the eyes, and the strength that makes Venom so dangerous, and yet Spidey has his suspicions. After all the pain and misery Venom has put the webslinger through over the years, Parker gives his old enemy the benefit of the doubt.

Of course Venom isn’t the sort to lie down when a creature is wreaking havoc in his name, so naturally the anti-hero returns to New York on the hunt. This allows the reader a rare insight into Venom’s mind. His hatred for Spider Man is as keen as ever – both Brock and the symbiote want revenge on the web-slinger’s role in “ruining” their lives – but the book goes deeper than that. It showcases Venom’s rationalization of the futility of prisoner rehabilitation, while at the same time reveals the pride Venom feels as the protector of a homeless community back in his native San Francisco.

But that’s not all. Venom’s chief quality is his strength: he has all of Spider Man’s abilities, he knows Spider Man’s secret identity, but the fact that Venom’s so much stronger is what gives him the edge in every battle. Spider Man’s speed against Venom’s brawn – not something I would put money on.

So when Venom finds the imposter, naturally the reader assumes that the anti-hero’s strength will put the odds in his favor. But no. The imposter kicks Venom’s ass throughout the New York sewers. This isn’t the nigh-invincible Venom the reader has been led to believe. This is a Venom who’s no longer the biggest shark in the ocean. It’s because of this re-evaluation that shows the depth of Venom’s inner hero: Spider Man gets to part ways with all limbs intact. It may not sound like it, but it’s a big improvement on the anti-hero’s part.

Aside from a side-plot involving Spider Man foe the Hobgoblin, this is clearly Venom’s book. But this isn’t the Old Testament Venom. This is a Venom that protects the innocent. This is a Venom that won’t stand by and allow his name to be tainted by a wannabe imposter. If Spider Man, his arch-nemesis, is willing to put aside his prejudices and give his most dangerous enemy the benefit of the doubt, then perhaps Venom isn’t such a lost cause after all. Enjoy reading.

Mary-Jane Watson-Parker

Mary Jane Watson Parker – Spider Man’s Wife

“Face it, tiger. You just hit the jackpot.”

When May Parker first told her nephew Peter of Mary-Jane Watson, he cringed at the mention of her “wonderful personality.” (guy-code for ugly chick). Peter thought his biggest problem was blocking out whatever hyper-active, anti-social stories this unattractive girl had in store. But then he opened the door . . . and with those eight little words, the red-headed, jaw-dropping bombshell changed Peter’s world forever.

For the majority of Spider Man’s career, Mary-Jane (or MJ) has held the prestigious honor of being Peter Parker’s wife. She’s his pillar of strength when the rest of the world goes out of its way to make him miserable. She’s his confidant, his best friend, the person he comes home to. It’s a weight that has crushed many a normal person. Yet time and again MJ has shouldered that burden without a flicker of remorse. If ever there was a woman behind the quintessential great man, MJ is that woman.

But she wasn’t always that way. Throughout her many incarnations, MJ is a savvy, saucy girl who captures the room just by stepping into it. She’s got everyone wrapped around her little finger, and she knows it. You want a night on the town? MJ’s your girl. Anything deeper is out of the question. She’s not the girlfriend type, and she definitely isn’t going to be tied down.

But let’s be clear: MJ’s not a man-stealing bimbo. Her sunny, saucy personality hides a very ugly personal life. Her father’s a verbally abusive alcoholic who often employs screaming matches or physical violence to make his point. MJ has silently suffered her father’s explosive abuse not only as a witness (her mother and sister’s beat-downs) but as a participant as well. Flirting and fun lets her forget her walking disaster of a father waiting at home. It’s only when Gwen Stacy (a dear friend and Peter’s other major love interest) dies that MJ sees the light and moves on from her high-school personality.

Peter’s appeal is that he is the Everyman of superheroes: he struggles with the mortgage, fights colds, and so on. MJ has a similar role. In most of her mature incarnations, she’s a famous actress who’s fallen on hard times. Once the bread-winner of the house, MJ is reduced to chasing down toothpaste ads and voice-over work to make ends meet. This situation is ever more demoralizing when your husband is secretly a costumed superhero who saves the world on a regular basis.

Most women in this situation would resent their partners. But MJ loves Peter because he sticks to his responsibilities when so many others would turn a blind eye. At the end of the day, her support is what gives Spider Man the strength to make the world a better place.

For every great man, there’s an even greater woman at his side. For Spider Man, we’re talking about Mary-Jane Watson. She’s beautiful – scratch that; there’s no word in the dictionary capable of expressing just how hot MJ is – both inside and out. And even though they’re currently separated (a move to make Peter more appealing to a young, single male demographic), Spider Man fans will always see MJ as the web-slinger’s true strength and humanity. She doesn’t just make Spider Man better. She makes Peter Parker better.

Thanks MJ.

Indestructible Hulk – Agent of SHIELD

Indestructible Hulk: Agent of SHIELD

Following the Hulk’s history is like a roller-coaster ride: he’s been gray, green, developed multiple personalities, gained and lost Banner’s intellect, had an abusive, alcoholic father, got shot off into space, became a gladiator, a rebel and a king, got married, became a widower, fathered a son, joined the Avengers . . . the Hulk’s been through a major wringer. However, the Indestructible Hulk series is the most ambitious plot arc I’ve seen so far.

Ever since the beginning, Bruce Banner has been obsessed with destroying the Hulk. He’s done everything from hypnosis to gene treatment, but nothing works. After so many, many years, Banner accepts the inevitable: the Hulk cannot be destroyed. Instead of letting the Hulk dominate his life, Banner instead decides to use the Hulk in a positive way.

This is a karmic turn for Banner. He’s one of the smartest men in the Marvel Universe, yet his obsession with the Hulk has prevented him from contributing to science. Tony Stark revolutionized human biology by constructing an artificial neural system. Reed Richards discovered an entire alternate universe called the Negative Zone. Banner? All he’s done is destroy things. But not anymore.

Banner strikes a deal with the SHIELD organization. They give him a state of the art lab, extensive resources, and a crack team of brilliant scientists ready to change the world. In return? They put the Hulk in suicide missions to bulldoze wanna-be supervillains with over-developed trigger fingers.

Suffice to say, Banner gets the job. And he hits the ground running. He uses his “Banner Time” (his words, not mine) in a pattern superficially resembling a training regimen. Each week is a new invention. And while the scientific jargon does go over my head at times, each new invention has world-changing potential.

Not that everything is roses and dandelions. Banner still has to prove to the superhero community that he’s not a threat. And while one would think that Banner would go out of his way to appease his colleagues, he’s rather stand-offish. His chip-on-the-shoulder dialogue laced throughout the comic makes him more of an arrogant genius (like supervillain Doctor Doom) than a pro-active anger management guy. His motto is “I’m here. I know what I’m doing. Don’t believe me? Get out of the way.”

After so many years of going back and forth between Hulk-outs and destroyed cities and the “will-he-or-won’t-he” musical chairs of a possible cure, this new set-up is refreshing. Banner finally has the chance to apply his genius to the world. While his attitude concerning the rest of the superhero community does seem like a prelude to Hulking out, he is building a legacy more than just senseless destruction. Whatever or not Banner can keep this new equilibrium is still up in the air.

Ah, what exciting times we live in.

Doctor Doom — From Comic Book to the Silver Screen . . . Again

Doctor Doom – From Comic Book to the Silver Screen . . . Again

With a new Fantastic Four movie on the horizon, I think it prudent to explore the team’s penultimate enemy, Victor von Doom. I will provide a comparison between the Doom in the comic books and the Doom portrayed in the previous Fantastic Four movies (as played by Julian McMahon).

The first thing you need to know about Doctor Doom is that he is regality personified. He dominates any room that he steps into. He knows this, opting to intimidate people with his sheer charismatic presence. People just want to naturally bend the knee to him.

Doom sees the world as a chaotic, jumbled mess; a prize currently in the hands of unworthy fools who don’t have the slightest inkling how to handle it properly. Only in his hands could the world the properly managed.

Except, unlike most supervillains, Doom actually achieves this task.

In the final episodes of the 1990s Spider Man animated series, Doom is part of a force summoned to an alien planet as part of an experiment to determine who is greater: the good guys or the bad guys. However, while other villains use physical force to dominate the planet’s native population, Doom proves to be a beneficial ruler. The people want for nothing: there’s no crime, no disasters, no anything. The price, of course, is that Doom’s rule is absolute. No one can even blink without Doom knowing. Peace through slavery: there’s not a lot of men in the real world to achieve Doom’s vision, much less those in the comic books. Doom’s just that kind of man.

Now that I’ve explained what Doctor Doom is – a tough task, given that Doom’s magnitude goes beyond words – it’s time to explain what Doom is not. A prime example of this is the Doom portrayed in the first two Fantastic Four movies by Julian McMahon. Fresh from his success of the Charmed television show, McMahon certainly has the pedigree to embody Doom: a menacing personality, an over-inflated ego, a constant mastermind, and a skilled manipulator.

However, McMahon’s Doom is a far cry than the charismatic force of his comic-book counterpart. While the comic-book Doom prefers to let his presence do the talking, McMahon’s Doom talks too much: always going for the verbal jab or cheap shot, never missing an opportunity to rub his alleged superiority in the faces of those who he deems beneath himself (When Doom does speak, it’s half Shakespeare, half 18th century Victorian English). McMahon may have the chops for villainy, but he lacks the presence befitting to the destined emperor of humanity.

Doctor Doom is more than just a man. He’s a force of nature. Put any number of people in the room. Pretend they’re talking about something. Then put Doom into that room. Everyone – no matter the conversation – stops talking to behold the new arrival. Doom’s presence is so overwhelming, so intimidating, that his mere posture demands respect and obedience: things that the populace are naturally given to comply. It’s what makes him so dangerous.

Unfortunately, it’s also what makes him so difficult to portray. Hopefully, the Doom of the upcoming movie will go beyond McMahon’s arrogant businessman and become the king the world so desperately deserves (Doom’s words, not mine). Only time will tell.