The Comics Professor

My thoughts on Avengers: Endgame (Spoilers clearly marked)

Well that was something!

After rewatching Avengers: Infinity War Thursday night, I saw Avengers: Endgame Friday morning by myself—well, me and the hundred other people in the sold-out small theater, but you knew what I meant—and then again with my kids in a much larger (but still sold out) IMAX theater. I grouse a lot about the modern movie experience, what with the ubiquitous cellphones and incessant chattering, and I've been going to the movies less and less the last several years because of it, but this was an occasion that demanded and justified the full social experience. The Friday audience was quiet, applauding only at the end of the movie, but the Saturday crowd was into it, cheering at every character introduction and revelation throughout the entire film. As many comic book fans of a certain age have noted, we were ostracized for our hobby as kids (and perhaps even more so as adults), so it's immensely gratifying to arrive in the year 2019 where we can sit in a theater with several hundred people, only a fraction of whom have likely every read a comic book, and cheer together to the exploits of the heroes of our childhood (and adulthood).

What about the movie itself? Again, I'm afraid I don't have much to say that probably hasn't already been said, and if you're looking for dispassionate criticism and analysis, look elsewhere my friend. I'm writing as an unabashed fan here.

Avengers: Endgame is a magnificent film, filling every last one of its 181 minutes without a lull, with excellent pacing and balance between its many subplots and storylines, and hitting every last emotional note it needed to. I'm frankly astonished at the magnitude of this movie and how well it put a bow on the unprecedented 22-film story that is the Marvel Cinematic Universe—so well, in fact, that I had a distinct feeling of loss at the end, not just for any events in the film itself, but for this initial stage of the franchise itself.

There isn't much more I can say without giving away story details, so this is where I warn...

THERE BE SPOILERS AFTER THIS GLORIOUS GIF OF GONEMMENEMMENEMMENON!

(Did you remember that he said that in Infinity War? I have to admit I did not, until I rewatched it Thursday night, after which I felt really stupid for forgetting it. Of course you remembered it, because you're all very smart.)

Here are my thoughts, with varying significance and coherence, starting with the six original Avengers themselves.

Captain America. As you might guess, my favorite moments were those centered on Captain America, who received a fantastic send-off. Before he "retired," he managed to poke a little fun at his catchphrase "I can do this all day" as well as his fan-favorite rear end, and also wield the mighty Mjolnir (as he has several times in the comics), which brought perhaps the loudest round of cheers in the Saturday showing. (And I have to wonder how much Nick Spencer paid the Russos to have Cap say those two little words. They used it well, but geez guys, give us some warning next time!)

Most interesting, compared to the comics, was that Cap retired at all. A constant theme, which I highlight often at my The Virtues of Captain America blog as well as the book of the same name, is that he continually feels the contrasting pulls of duty and love (or "mission" versus "life") and reliably picks the former. As much as he feels he's done enough and deserves happiness, he always returns to the shield, without fail. Of course, given the realities of comic book publishing where established characters rarely change too much, this is understandable, but Evans's retirement gave the filmmakers the opportunity to have their Cap make the other choice—while leaving a world with a very capable successor in Sam Wilson. (This makes me wonder if the announced Disney streaming series featuring Falcon and the Winter Soldier was just a ruse, or if it was always meant to be about Sam as Cap and Bucky helping him.)

Iron Man. Despite the tremendous moments that Cap had in this film, the emotional center was definitely Tony Stark, which was appropriate given that it was Iron Man, as played by Robert Downey Jr., that got this entire party started in 2008. For the same reason, it made sense that he would die while dealing Thanos the final blow (or snap). (I like to think that, as he usually does in the comics, he uploaded a version of his consciousness into a computer so he can be the AI in a successor's armor, whether that successor is Pepper, which is doubtful, or someone like Riri Williams, Ironheart from the comics, who did have an AI version of Tony in her helmet for a while.)

Speaking of Pepper, it was amazing to see her in the armor, even if (as I suspect) just for this one time. We all knew it was coming after the earlier scene with little Morgan, but to actually see it... that elicited another huge cheer from the Saturday crowd (as did the collection of the MCU's incredible collection of female heroes protecting Peter and the gauntlet at the end). And seeing her fighting back-to-back with Tony... that, together with the stakes of the situation, made me forgive the fact that, as Rescue in the comics, Pepper's armor had no weaponry.

(And Tony's final words to his daughter, "I love you three thousand"... I'm tearing up again as I type it.)

Black Widow and Hawkeye. Black Widow made the ultimate sacrifice, of course, to Hawkeye's objections. (I'm sure he felt he should be the one to die, given the fact that he had racked up quite a few murders in the preceding five years, but would good ol' Frank have done the same thing?) But, I suspect she will be back, depending on how Cap "returned" the Soul Stone in his reverse-time-heist before getting hitched and living out his days as Married Old Man Steve. If the goal was to restore the original timelines, did he just give the stone back to the Red Skull—I really want to see that conversation—or did he just prevent Nat from sacrificing herself in the first place? And if he gave it back, could he somehow have saved Nat? (If only Evans didn't want to retire, I would ask for a streaming series on Cap's trips in the past to restore the Stones. Hear that, Feige?)

The Hulk. The newly chill Hulk was wonderful (calling back to Bruce's efforts at maintaining inner peace when Nat found him the first Avengers movie), especially with the kids who wanted their picture with him, with Scott when he saw he'd lost his taco, and especially when revisiting the Battle of New York and having to fake his old raging self. It also made his sadness and grief more apparent after losing Natasha, when he did show his anger a little more.

Thor. And of course, "the Odinson abides." This was the one part I think they took a little too far, though it provided some great laughs, especially with Rocket (who would imagined those two would make such a great pair, in both Infinity War and Engame), and a touching moment with his mother. I was sorry we didn't see him interact with Jane, though, which leads to my next comment...

Playing with time. What better way to pay tribute to the entire 22-film series than revisit some key scenes from the earlier films to the process of finding the Infinity Stones in the past? That was simply brilliant. Both times I saw it I tried to figure out which scenes which pulled from the earlier films, such as the famous shot of the six Avengers standing back-to-back in a circle during the Battle of New York, and which ones were new, such as the elevator scene in New York (calling back to Captain America: Winter Soldier even though it was set during Avengers) and the subsequent lobby scene with Alexander Pierce (also from Winter Soldier), which featured a key move from Loki (who managed to play an integral role despite dying early in Infinity War). I have to assume the quick shot of Jane Foster was old and Natalie Portman didn't shoot any new footage—otherwise, I think someone would have interacted with her. What's more, I found it very clever of the Russos to use the time travel device (plot device, that is) to bring in the Ancient One as well as the younger Howard Stark, Jarvis, and best of all, Peggy Carter.

There's so much more I could mention, such as the emotional reunion of Peter Parker with Tony Stark, the return of the Wakandans, Valkyrie on her magnificent flying steed, Janet van Dyne (!) at the end, and Captain Marvel's limited but effective role (my favorite scene of hers being when she met Peter, showing that she doesn't have to be fierce all the time). My one complaint: I wish they would have done more to show the return of half the life in the universe than Clint getting a call from his wife and Scott seeing more birds outside. I realize the movie was long enough as it is, but just a 30-second montage of people hugging returned loved ones around the world (and on other words) would have been nice to show the enormity of what our heroes accomplished (before Thanos arrived and blowed them up but good).

That ending. The funeral scene, with the slow pan over the entire cast of the Marvel Cinematic Universe, was poignant in its intimacy as well as breathtaking in its scope, showing the scale of that universe with all the sub-franchises contained in it, and everyone paying tribute to the hero that started it all. as well as, I like to think, the actor—very much still alive—that played him so well.

That other ending. Even though, in spirit, the series began and ended with Tony Stark, as a Cap fan I appreciated that the final shot of the film showed Steve and Peggy dancing (I assume in the late 1940s), picking up not long after where they left off when Cap made the ultimate sacrifice himself in his first film. That gave the movie, which was incredibly heavy emotionally, an optimistic conclusion, showing that true love and lasting happiness is indeed possible... if you have Pym particles and a time machine. (If anyone knows where I can get these things, let me know!)

That other other ending. The cast credits, ending with tributes to the six that started it all, really drove home that this is the end of an era, even if it is also the beginning of a new one. It really hit me, especially on my second viewing, that this was the last time we'll see some of these characters on the big screen, and what they, along with everyone else involved in these films, have accomplished. Twenty-two interlinking movies in twelve years, most of them standing fairly well on their own and each mini-franchise possessing its own unique aesthetic, but all feeding to a large narrative... just like the Marvel Universe of the comics.

And that, perhaps more than even the faithful renditions of the characters and the Easter eggs for the diehards, is what makes the MCU gratifying to comics fans: The movies feel like the comics. With both, we can revel in the continuity of the large-scale narrative at the same time that we appreciate each individual story, scene, and line. Not all of the movies need to be equally good, and you don't have to like every character as much as your favorites, but you can still enjoy most if not all of the movies on their own and the series as a whole. (For my part, I regard all 22 movies as at least good, with most of them very good and a few of them excellent.)

What's even better than that? As I mentioned at the beginning, my childhood obsession is now a cultural phenomenon. And when an entire large theater erupts in cheers, five minutes into the movie, at the first appearance of Captain Marvel—a character introduced into the mainstream consciousness in her first movie just a few months ago—you know that something amazing has happened. I'm thrilled to have been there to experience it... and I can't wait to see what happens next.

My thoughts on Captain America: Civil War (No spoilers!)

OK, no surprise... I loved Captain America: Civil War. I was fairly certain I'd like it, of course, but it surpassed my expectations, which were well heightened by all the positive  comments from everyone who saw it before me. (And that seems to be everyone I know. I will have my revenge, mark my words.)

So here are some scatted thoughts, as usual... (If I had no shame I would title this post "7 Things I Loved about Captain America: Civil War... and 1 I Didn't," but with any luck Google will pick up on that anyway.)

1. The movie was very well paced, and I was never tempted to check the time, which is impressive for a 147-minute movie. There was a point at which I thought the movie could have been essentially finished, except there was a scene from the trailers that hadn't come up yet, but this was a minor lull.

2. Despite the inclusion of a dozen heroes, several of them appearing throughout the film, the Russo brothers did a great job keeping the focus most of the time on Cap and the main secondary characters, Falcon, Bucky, and Iron Man. There were times that it did feel like an Avengers movie—especially during the fight scene between the two teams, which was much longer (and better) than I expected—but these spots were occasional enough that the movie still felt like a Cap movie. (Although, to be fair, there was enough substantial Iron Man content that it almost could have been titled something stupid like Captain America v Iron Man. Like anyone would do that.)

3. The story itself was not as close to the comics version as I expected—and I didn't expect it to be very close at all—but I think the changes worked well within the context of the Marvel Cinematic Universe. For instance, as many people noted ahead of the film, not many of the heroes we've seen in the films have secret identities, so that aspect of the comics story wouldn't translate well to the film, and it was wisely left out. Nonetheless, the movie did touch of several iconic images and lines from the comics, which I found enormously gratifying (being rather fond of the comics, as you may have heard). Would I have loved more explicit discussion of the issues underlying the conflict? Of course, but I was satisfied with how much there was, and the dialogue on this front was concise and on target, hitting the most important points of the debate. (I expect to be talking more about that aspect of the film in the near future.)

4. The action scenes were simply incredible, both those with two characters as well as a dozen, and felt more visceral than Whedon's in the two Avengers films, even when all the heroes were onscreen at the same time. Maybe it was the Russo brothers' more subdued color palette, or the slight jerkiness of the camera (which, to be honest, became somewhat tiresome), but these scenes were more reminiscent of a war movie (appropriately enough) than a traditional superhero film. Kudos to everyone involved in these scenes, most of all the sound people—every time one of the heroes got hit, was thrown in a wall, or fell 50 feet to the ground, I flinched thanks to the combination of performance, cinematography, and especially the sound effects. (But at the same time, even when Cap and Iron Man went all out on each other, there was none of the senseless brutality we saw in that other superhero battle movie this year.)

5. Black Panther... ah, my king! He could have easily been the star of this movie if any of the other characters had let me down, and I am looking forward even more (if that were possible) to his solo film. Chadwick Boseman gave T'Challa a thoroughly regal demeanor, with the perfect combination of determination, class, and fierceness. The Panther's movements were magnificently graceful, especially the way he would land after a jump or being thrown. And even with his short time in the film, we saw his character experience growth.

6. I am a big fan of both Tobey Maguire's and Andrew Garfield's portrayals of Peter Parker/Spider-Man (though not necessarily of every film they were in), and Tom Holland's version adds yet another unique take on the character. He played a relatively small role in the movie, and didn't have much to do with the Civil War storyline itself (unlike in the comics, where he was a major player), but we see much more of him than I expected, in and out of costume.

7. The Stan Lee cameo was perfect. 'Nuff said.

If I have one criticism with the film, it's with the ending. I can't say much more without giving anything away, so I'll just say that I thought some things were left unresolved, but I trust the Russo brothers to be setting up their first Avengers film (which cannot come soon enough).

The ending notwithstanding, I thought the movie was exceptional. It was more of an action movie than a political one, but there was enough of the latter to make this fan of the comics story happy.

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As I mentioned, I have a number of interviews planned over the next week in which I'll speak to the ideological debates in the movie and the comics, so stay tuned, both here and on Twitter. And don't forget to check out my book, A Philosopher Reads...Marvel Comics' Civil War: Exploring the Moral Judgment of Captain America, Iron Man, and Spider-Man, available now!

Thoughts about Avengers: Age of Ultron (Spoilers galore!)

Not a review, per se, but just some collected thoughts...

MAJOR SPOILERS BELOW—BE WARNED!

1. Loved it. It started like a Bond film with an intense action sequence, expertly shot in a similar fashion to the Battle of New York in the first film, with the focus flowing seamlessly from one character to the next, then calmed down as we saw the threat of Ultron building. Then it was off to the races again, only to be followed by setback, then regrouping for the final battle...

2. ...which was focused on SAVING ALL THE PEOPLE.

3. They SAVED ALL THE PEOPLE.

4. ALL OF THEM.

5. Ok, where was I... oh, right.

6. The focus on the six main Avengers seemed much more even this time, with Black Widow and Hawkeye getting more attention (especially with the surprise revelation that Hawkeye has been married to Velma all this time—no womanizing cad this Clint Barton).

7. I wish Black Widow hadn't been made the captured Avenger that had to be rescued, but that role was played by Hawkeye in the last film, and the others are too powerful. But still.

8. The humor was fantastic—I tried to remember all of my favorite lines but last track twenty minutes into the film. And they weren't all one-off gags: the running joke about Cap's early comment about "language" was fantastic. Even the scene from the preview with the Avengers trying to lift Mjolnir set up Vision's validation in the face of his new friends.

9. The new characters were integrated extremely well. The early antipathy of Quicksilver and the Scarlet Witch Pietro and Wanda towards Stark and the Avengers was easily motivated and then dispelled gradually. I was surprised not to see Pietro healing at the end of the film; Wanda was the more longstanding Avenger of the two in the comics, but nonetheless I liked their relationship in the film. And the Vision, wow...

10. The Vision was simply magnificent. One advantage of attending the first showing of the film was the number of diehard fans in the audience, all of whom applauded when Vision rose from his "cocoon." (Not to mention the gasps the first time Wakanda was mentioned.) Paul Bettany played Vision with the quiet dignity he deserved, and I can't wait to see him again.

11. I was a bit put off by Ultron's sense of humor, which is a distinct departure from the comics, but it grew on me, and made excellent use of James Spader's voice talents. And visually, he looked amazing.

12. Similar to Guardians of the Galaxy, teamwork was the focus of this film. The Avengers never really disassembled (even after Wanda's mindgames), so there was no need to rally at the end. I'm talking about the subtle, small types of cooperation, such as the one-two fight moves that Cap and Thor had obviously worked out in practice, and the way Clint and Natasha had each other's back throughout the film.

13. The cameos... well, I won't spoil those. There was Stan Lee, of course, but other MCU players made welcome appearances as well.

14. While the mid-credits bonus scene wasn't spectacular, it was gratifying to see the names of all the heroes—Avengers old, new, and "see ya next time"—in the main credits preceding it.

15. Tony, Tony, Tony... when will you learn? (What am I talking about? See my new post at the And Philosophy blog.) Also nice to see the continuing ideological differences between Tony and Cap referenced but not stressed (there's time for that in Captain America: Civil War).

16. I can't stress this enough: the last quarter of the movie was as much about getting all the people off of the floating city as it was about defeating Ultron. That's what the Avengers risked their necks to do. That's what Fury and Hill brought the helicarrier back for. That's what Clint almost died for—and Pietro did. It's sad that this kind of heroism is notable in a superhero movie, but in a Zack Snyder world, it is.

17. And did anyone fear for reality a little bit when Wanda lost it after Pietro died? I half-expected to see little Tetris pieces flying around.

18. And finally... Natasha and Bruce. I like it because it felt organic, and the scene in which she shares some of her Red Room background with him justified it even more. And of course, Bruce's "I can't be with you, I'm a monster" speech was well appreciated by this Thing.

P.S. It's Natasha Romanova. It's not too late to correct a grievous wrong. Respect.

To sum up, Avengers: Age of Ultron took advantage of the fact that it started with a team already assembled to jump head-first into the action and then spared no time in bringing the main threat to the stage. It was extremely well paced, with excitement, humor, and pathos throughout, and terrific performances by everyone involved. If this is Joss Whedon's farewell to the MCU, he couldn't have done a better job—this was a love letter to the Avengers, Marvel Comics, and to Marvel Zombies everywhere.

Torture Comics: The New Avengers Cross the Line

Ah, comics.

The other day I was chatting about New Avengers #22 with with my friend Christine of the fantastic Daredevil blog The Other Murdock Papers. I mentioned how how out-of-character it seemed that Daredevil would exclaim "Toss her!" when the New Avengers are trying to extract information from Victoria Hand. (Remember that New Avengers scribe Brian Michael Bendis wrote a lengthy and highly acclaimed run on Daredevil.) Wolverine does in fact toss her--out the window--after which the non-powered Hand falls at least a dozen stories onto a car below.

My concerns about characterization--at least in terms of dialogue--were somewhat alleviated, however, when the whole affair was revealed to be an magical illusion shown to Hand by Dr. Strange in order to get the desired information. Christine was appalled, nonetheless, that Matt (along with the rest of the team) simply stood and watched while Dr. Strange tortured Ms. Hand. (At least Matt exclaims "God!" as she screamed in agony. I wonder, is that better than Grant Morrison having Superman exclaiming "GD" in a recent issue of Action Comics? Judges?) Strange's spell is even called "The Death Illusion Spell on the Shadow," lest there be any doubt regarding its intended effect.

Here we go again, kids! I still remember vividly the controversy over the torture of supervillains at the hands of Ray Palmer, Hal Jordan, and (yes) Oliver Queen during Justice League: Cry for Freedom several years ago. (See issues 3 and 4 in particular for some good dialogue on the topic.) I even addressed the torture debate in an op-ed I coauthored drawing a parallel with the issue of whether Batman should kill the Joker, based on the first chapter of Batman and Philosophy (and itself a topic recently revisited by Comics Alliance). 

Are Dr. Strange's actions any different because they were the result of an illusion, a magical spell, rather than actually tossing her out of the window? Clearly not: in the legal/political sense, torture is usually defined as inflicting physical or mental suffering for the express purpose of obtaining information. (Ssee, for instance, Jeremy Waldron's book Torture, Terror, and Trade-Offs, pp. 191-4, in which he surveys the various prohibitions of torture in official government documents around the world.) The whole point of waterboarding, after all, to make people think they are drowning, not actually drown them. Just because Strange has the ability to make Ms. Hand think she is dying without actually threatening her life doesn't make her subjective experience any less horrible--or any less torturous.

So it was torture--but was it justified? When it comes to the use of torture, someone people say no categorically, and others would allow for some exceptions, such as "ticking time-bomb scenarios." Let's say we grant exceptions in such rare emergencies: does the situation faced by the New Avengers qualify? In what seems like the start of a new Dark Reign, Norman Osborn has once again put together his own faux Avengers team and has masterfully manipulated public sentiment and the media against the Avengers (both Steve Roger's A-team and the New Avengers). They suspect Ms. Hand--the team's liaison with Rogers--is also working for her old H.A.M.M.E.R. boss, and they want her to lead them to him.

Osborn is bad news, of course, but does this represent a "ticking time-bomb," a threat so severe and immediate that (to some people) it justifies nearly any means taken to prevent it, including torture? It's a judgment call, of course, but I hardly think so, unless they uncover evidence indicating immediate and catastrophic plans of Osborn's. As of yet, however, all they know is that he's made them look like chumps--and they certainly aren't helping themselves either.

Of course, Mockingbird clocked Hand before Strange put the whammy on her--and Daredevil himself has certainly used his fists to empty many a bar of lowlifes when trying to get information on a case. Maybe it's just because, as comics fans, we're used to seeing heroes beat up bad guys, but we usualy don't think of this as torture--though, when a real life police officer or detective does it, we take it more seriously. Victoria Hand is an experienced and trained former S.H.I.E.L.D. and H.A.M.M.E.R. agent; she probably wouldn't crack merely from being beaten up. She didn't crack under Dr. Strange's spell either--but was he justified in using it in the first place?

I don't think so. Do you?

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By the way, Christopher Robichaud touches on the torture issue in his chapter "Fighting the Good Fight: Military Ethics and the Kree-Skrull War," in The Avengers and Philosophy: Earth's Mightiest Thinkers, now available for pre-order.

First chapter of The Avengers and Philosophy available for free download

Thanks to Mitters' tumblr, I discovered that there are three samples from The Avengers and Philosophy: Earth's Mightiest Thinkers available at Wiley's site for the book: the table of contents, the index (in case you're curious who's included in the book--I'm happy to say most everybody!), and best of all, the first chapter, written by yours truly.

Titled "Superhuman Ethics Class with the Avengers Prime," it introduces the three basic schools of ethics--utilitarianism, deontology, and virtue ethics--using Iron Man, Captain America, and Thor (respectively), and the conflicts between them, as examples. (The title comes from Avengers Academy, as I discuss here and here.)

Download it and let me know what you think, and don't forget to preorder the book, which comnes out in May!

Brian Michael Bendis' run on the Avengers titles ending in 2012

Comic Book Resources has announced, at the end of a lengthy interview with Avengers mastermind Brian Michael Bendis, that he will end his tenure with the franchise in 2012:

"I'm going to wrap up 'Avengers' and 'New Avengers.' At the same time the first storyline of 'Avengers Assemble' will be done," Bendis told CBR. "It's a good time to move on to other things. Before I go, though, I'm ending things big. I'm in countdown mode. You know when you're watching a show like 'Breaking Bad,' and every episode feels like the second to last episode? That's where I'm at. I've been on the Avengers longer than anybody in the history of the book. When you take everything into account, I've written over 200 issues. I'm very, very proud of that, and what we have coming up this summer gives me the opportunity to go out on a high note. I know enough about showbiz to know that's a great time to go."

I have been a huge fan on Bendis' work on Avengers since the team was first disassembled, and his influence appears throughout Avengers and Philosophy. I hope to have more to say on his epic run in future posts.

Thank you, Mr. Bendis, for a groundbreaking run.

New chapters on Captain America and Thor exclusive to free "Superheroes" Kindle book

Wiley just released their free Kindle book, Superheroes: The Best of Philosophy and Pop Culture, featuring one chapter from each of the superhero-themed books in the Blackwell Philosophy and Pop Culture series, including the forthcoming titles on Superman and the Avengers, as well as two new and exclusive chapters, written by yours truly, on Captain America and Thor.

Here are the contents:

PART ONE: Superheroes Exclusives

1: Lord Odin Have Mercy: Justice and Punishment in Asgard—Mark D. White

2: Captain America and the Virtue of Modesty—Mark D. White

PART TWO: DC Superheroes

3: Is Superman an American Icon?—Andrew Terjesen (from Superman and Philosophy—edited by Mark D. White)

4: The Blackest Night for Aristotle’s Account of Emotions—Jason Southworth (from Green Lantern and Philosophy— edited by Jane Dryden and Mark D. White)

5: Why Doesn’t Batman Kill the Joker? —Mark D. White (from Batman and Philosophy, edited by Mark D. White and Robert Arp)

6: Can We Steer This Rudderless World? Kant, Rorschach, Retributivism, and Honor—Jacob M. Held (from Watchmen and Philosophy, edited by Mark D. White)

PART THREE: Marvel Superheroes

7: Forgivers Assemble! —Daniel P. Malloy (from Avengers and Philosophy, edited by Mark D. White)

8: Does Peter Parker Have a Good Life? —Neil Mussett (from Spider-Man and Philosophy, edited by Jonathan J. Sanford)

9: The Stark Madness of Technology—George A. Dunn (from Iron Man and Philosophy, edited by Mark D. White)

10: Amnesia, Personal Identity, and the Many Lives of Wolverine—Jason Southworth (from X-Men and Philosophy, edited by Rebecca Housel and J. Jeremy Wisnewski)

"A voice that could command a god": Captain America and the Stoics

This week I've been reading Nancy Sherman's book Stoic Warriors: The Ancient Philosophy behind the Military Mind, which not only looks at how Stoicism can apply to the modern military (and how much military codes and standards dervie from Stoic thought), but also provides a nice introduction to Stoicism itself, combatting common (and often) mistaken ideas of it as denying emotion altogether, rather than recommending self-regulation of emotion, allowing it when appropriate and suppressing it when not.

Chapter 3, "Manners and Morals," contains a defense of military decorum, encompassing all the many elements of it, including dress, movement, and speech. In the following passage, she discusses the importance of the voice:

...how officers address their troops can be an index of character and excellence. A tone of voice that is stern but not abusive, objective and authoritative yet still compassionate, is a way of commanding (deferential) respect and showing (dignitary) respect. It is a sign that can reveal a leader's good character and sensibilities. (p. 57)

She then goes to cite from Cicero's classic guidebook On Duties, particular Book I: 133-137 on public speaking--such as "One ought for the most part only to resort to mild criticism, though combined with a certain seriousness so as to show severity while avoiding abusiveness" (137)--and applies it to military command:

The character and tone of one's voice are part of the example one sets. True, not all are gifted orators like Pericles, who gave a funeral oration for Athenian troops that came to define the species for all of history. But all have an obligation to find ways of commanding with seriousness and resolve, and with a respectfulness that still lets subordinates know who is in authority. (p. 57)

When I read this chapter in Sherman's book, I thought of how Captain America has been portrayed in comics over the years, especially as regards his voice and the influence and authority it commands. My favorite example of this comes from Daredevil #233 (August 1986), the final issue of Frank Miller and David Mazzucchelli's classic Born Again storyline, in which Ben Urich sees Cap giving orders to Thor, and thinks, "A soldier with a voice that could command a god--and does." The Thunder God's respect for Steve Rogers can been made evident ever since the Avengers thawed him out decades ago, and his demeanor in commanding his "troops" is certainly one factor behind that respect that a god gives a man in this case.

Another fantastic example of Cap's authority comes from Avengers #63 (March 2003), final chapter of the Standoff storyline that crossed over with Iron Man and Thor. Here we see  Cap trying to keep the American military from escalating a tense situation with the Russians (instigated by Doctor Doom):

 

(Scans courtesy of Scans-Daily's post on this issue, which makes a similar point about Cap's authority.)

Here we see Cap command the U.S. soldiers, his voice stern and firm yet respectful--and also showing respect for the commanding officer at the same time disagreeing with him. But when he gives the order to "stand your ground," we "hear" the voice that commands men and gods alike--and a voice that Cicero and his fellow Stoics would have admired as well.

The Avengers and Transhumanism

With a tip o' the hat to Daniel Hawes, I bring you this article by Kyle Munkittrick on transhumanism (human enhancement) with examples drawn from the "prime" Avengers--Captain America, Iron Man, and Thor--plus the Hulk. I would take issue with some of the author's descriptions of the four characters--especially the Big Three--but he makes some excellent points about hopes and fears reagrding human enhancement.

From the introduction:

Transhumanism is a big, complicated, sprawling idea. The central concept – that humans can be made better with technology – touches on a lot of hopes and fears about the future of humanity. Though I’m always going on about how great human enhancement could be, I’ve got my fair share of fears myself. But my fears are probably way different than many of your fears. But how in the world can we represent those concerns? As it turns out, I’ve found a pretty good set of archetypes that represent our hopes and fears: Marvel Comic’s [sic] Avengers.

How we frame scientific progress changes how we see individual technologies. When we think about science changing people, our minds naturally go to that group of individuals constantly being bombarded by gamma radiation, genetic mutagens, cybernetic interventions, and biological acceleration. I’m talking, of course, about superheroes. Superheroes are modern mythology. And because of that, they make great metaphors for understanding big issues. With The Avengers movie officially announced, I can’t help but notice that the four main members* of Earth’s Mightiest Heroes – Thor, the Hulk, Captain America, and Iron Man – are great examples of the different ways different people understand (or misunderstand) enhancement. Respectively, they are The God, The Monster, The Soldier, and The Robot.

Now, in the case of the Avengers, I don’t mean that they each represent a kind of enhancement, like cognitive enhancing pharmaceuticals or genetic engineering for athleticism. I am talking about the mindset people have around enhancement. Will transhumanism make people into monsters or Gods? Is science on the right track or out of control? The Avengers represent how you think enhancement works. Not only that, each Avenger symbolizes the hopes, fears, and problems enhancement may have. Whatever your dreams or nightmares about enhancement are, at least one member of Marvel’s wonder team has got you covered. So which Avenger represents you?

Superhuman Ethics Class is in session in Avengers Academy #10!

Wow, I thought Christos Gage was just kidding when he had Hank Pym mention Superhuman Ethics Class in Avengers Academy #8 (noted here), but he was serious: in this week's Avengers Academy #10--pencilled by the incomprable Sean Chen, by the way--class is in session! And how do our students (and teachers) do? Let's see...

--- SPOILERS BELOW THE FOLD ---