News about the premier academic journal devoted to all aspects of cartooning and comics -- the International Journal of Comic Art (ISSN 1531-6793) published and edited by John Lent.

Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Tuesday, December 1, 2020

Book review - The Wakanda Files. A Technological Exploration of the Avengers and Beyond.

 

Benjamin, Troy. The Wakanda Files. A Technological Exploration of the Avengers and Beyond. Epic Ink, 2020. 160 pages. ISBN: 978-0-7603-6544-1. $60.00.

 reviewed by Aaron Ricker

Troy Benjamin is the author of the Agents of S.H.I.E.L.D. Declassified book series, and a contributor to the Official Guidebook to the Marvel Cinematic Universe. His new book The Wakanda Files is, like these other titles, an illustrated look at the Marvel Cinematic Universe (MCU) aimed at fans in a hardcover book with plastic slipcase.* The book’s creative conceit presents The Wakanda Files as a collection of top-secret intelligence assembled by the royal scientists of Wakanda (a fictional African kingdom featured in the MCU, led by the Black Panther). The high-tech information thus collected by Wakandan spies and scientists is arranged into five sections: “Human Enhancement” (pages 4-69), “Weapons” (70-105), “Vehicles” (106-129), “AI and Mind Control” (130-143), and “Energies and Elements” (144-162). Chapter 1 therefore presents data on how Steve Rogers was transformed into Captain America, for example, and Chapter 2 talks about the development of his shield. Chapter 3 includes a discussion of the ups and downs of Howard Stark’s flying cars, and Chapter 4 highlights the AI breakthroughs (lucky and otherwise) achieved by Tony Stark. Chapter 6 presents some of the most fantastical science of all, including wonders like the fictionalized powers of palladium and the “Infinity Stones” whose blatantly magical character does not even get a perfunctory scientific fig leaf.

 

As this list of representative items suggests, the focus of The Wakanda Files is squarely on the MCU and the Avengers. The book’s subtitle touts it as “a technological exploration of the Avengers and beyond,” but the scope of its attention never extends far beyond the marvels of the Avengers-related movies. Even the illustrations are often just screenshots from the films, run through various Photoshop filters. If Wakanda has been patiently collecting data on exotic science related to human enhancement for years, one might ask, why do these files include no mention of achievements like Dr. Doom’s ultra-high-tech armour? The answer seems to be that the narrative focus of The Wakanda Files is restricted by the marketing needs of the real world outside the MCU: the Fantastic Four movies were (by MCU standards) commercial flops, and done by a rival studio which controlled the intellectual property. Hot Marvel properties that are fresh in people’s minds from the Avengers blockbusters are more likely to sell books.

 

The presentation of The Wakanda Files is not only limited by the MCU’s Avengers high-tech context in terms of the fictional technologies deemed worthy of attention. As intimated above with reference to the Infinity Stones, the book is also noticeably shaped by the way the Avengers movies tend to casually “retcon” the magic found in their source material as exotic science. On the very first page, chief scientist Shuri-Kimoyo specifies that the goal of the project is to “bring our planet the forefront of technology and innovation” (Wakanda Files, p. 3). The first file presented, though, is about the magic herb that allows the Black Panther to “access the ancestral plane” (Wakanda Files, pp. 6-7).

 

As a result of this artistic, or commercial, decision to accept the MCU’s preference for non-explanations, The Wakanda Files squanders some of its potential. A book about science (and) fiction can help scratch the hobbyist’s itch for collection and escapism. Such a book can also serve at times, though, to inform and inspire. It can give readers a pleasant chance to marvel at how elegantly the fantasy has been made to dance with the hard science. The lazy approach that The Wakanda Files picks up from the MCU shrugs off this opportunity. In Chapter 3, for example, Howard Stark explains that Captain America’s shield is bulletproof because it’s “[c]ompletely vibration absorbent” (p. 72). What do readers interested in scientific information gain from the suggestion that bullets are dangerous due to vibrations as opposed to their weight and speed?

 

At times, the loss in terms of potential infotainment value is exacerbated by losses in narrative coherence. According to The Wakanda Files, for example, the Bifrost bridge from Asgard to Earth controlled by the thunder god Thor is an Einstein-Rosen wormhole – an idea floated as theory in the movies and repeated here as fact. As such, the Bifrost is said to permit travel through space and time (pp. 80, 149). In narrative terms, though, this picture just doesn’t work. If Thor had the ability to open portals for time travel, the Avengers wouldn’t have needed to spend so much time and energy building a time machine (the very device discussed on pages 59-61 of The Wakanda Files). Now and then, this unfortunate streak of intellectual laziness drags the book down to the level of absurdity. In Chapter 3, for example, the reader is presented with Dr. Hank Pym’s plans to become smaller than an atom, which for some reason include worrying about how breathable the air might be. “Oxygen levels within the Quantum Realm are undetermined,” Pym notes (p. 129). This is a truly bizarre concern to attribute to a brilliant scientist. How many oxygen molecules per billion is he hoping to inhale, once he’s smaller than an oxygen molecule? The services of a good scientific advisor/editor would have come in handy at such points.

 

On a less serious, but nevertheless distracting and disappointing note, The Wakanda Files also suffers from a lack of basic editing. In Chapter 1, the head of the German super-soldier program is found writing, “I need resources. I need men” (p. 12). Two pages later, the head of the American super-soldier program writes, “We need resources. We need men” (p. 14). In Chapter 2, SHIELD agent Phil Coulson recommends copying Asgardian tech because “we’ll want to fight fire with fire” (p. 95). Two pages later, he also recommends copying Asgardian tech because “we’ll want to fight fire with fire” (p. 97). Proofreading mistakes appear in every section. Benjamin writes “burying the lead” as opposed to “the lede” (p. 142), for instance, and invents the new English expression “of which I’m familiar” (pp. 123, 146). In short, the timing of The Wakanda Files seems wise from a sales point of view - hot on the heels of the movies and ready for holiday sales - but a less derivative and more precise approach could have provided fans and students of comics culture with a more enjoyable read while enriching the backstory of the MCU.

 

*editor’s note – Ricker’s review was written from an advance copy pdf. His comments with page citations have been checked and confirmed against the final text. The finished book also comes with a small ultraviolet light designed as Wakandan technology with which the reader can find concealed messages. The plastic slipcase is necessary to hold the light together with the book. A version of this review will appear in print in IJOCA 22:2.

Friday, November 23, 2018

Exhibit review: Superheroes at the National Museum of American History

by Mike Rhode


Superheroes. Washington, DC: National Museum of American History. November 20, 2018 to September 2, 2019. http://americanhistory.si.edu/exhibitions/super-heroes
The Smithsonian museum has mounted a small, but choice, exhibit made up of some extremely surprising pieces. The terse description on their website only hints at it:
This showcase presents artifacts from the museum's collections that relate to Superheroes, including comic books, original comic art, movie and television costumes and props, and memorabilia. The display includes George Reeves's Superman costume from the Adventures of Superman TV program, which ran from 1951-1958, as well as Halle Berry's Storm costume from the 2014 film X-Men: Days of Future Past.
Of the five exhibit cases, two concentrate on comic books and original art, while the other three contain props from movies and pop culture ephemera. Surprisingly, the Black Panther costume from the Marvel movies which the museum collected this summer is not included, but as noted above they have displayed George Reeve's Superman costume (since it is in color rather than grey shades, it came from the later seasons of the television show), Halle Berry's Storm uniform, along with Captain America's shield, Wolverine's claws and Batman's cowl and a batarang. Those three cases are rounded out with the first issue of Ms. Magazine which had a Wonder Woman cover, two lunchboxes (Wonder Woman and Marvel heroes), and a Superman telephone.











courtesy of Grand Comics Database
 Surprisingly, the two cases of comic books and original art include a very wide variety of comic books including some that just recently came out such as America (Marvel) along with older issues such as Leading Comics from 1943 which featured Green Arrow among other heroes such as the Crimson Avenger and the Star-Spangled Kid. The existence of an apparently extensive comic book collection in the Smithsonian comes as a surprise to this reviewer and will need to be researched more in depth. Even more of a surprise were the four pieces of original art on display – the cover of Sensation Comics 18 (1943) with Wonder Woman drawn by H.G. Peter, a Superman comic strip (1943) signed by Siegel and Shuster, a Captain Midnight cover that the curators did not bother to track the source of (it appears to be an unused version of #7 from April 1943), and a April 27, 1945 Batman comic strip. Actually, none of the creators of any of the works are credited, although the donors are.
The small exhibit lines two sides of a hallway off the busy Constitution Avenue entrance of the Museum, but the location has the advantage of being around the corner from a Batmobile from the 1989 Batman movie that was installed earlier this year. The car may be tied into the nearby installation and branding of a Warner Bros. theater showing the latest Harry Potter spin-off movie which seems like a true waste of space in the perennially over-crowded and under –exhibited (i.e. they have literally hundreds of thousands of items worthy of display in storage), but one assumes that besides the Batmobile, the theater came with a cash donation or promise of shared revenues.

Notwithstanding that cynicism, the Batmobile and the superheroes exhibit are fun to see, although most people quickly passed them by during this reviewer's visit. Also of interest may be a bound volume of Wonder Woman comics and a reproduction of an unused idea for her original costume, around the other corner from the Batmobile in the Smithsonian Libraries exhibit gallery. The museum has recently acquired some Marston family papers.

Bruce Guthrie has an extensive series of photographs including the individual comic books at http://www.bguthriephotos.com/graphlib.nsf/keys/2018_11_22D2_SIAH_Superheroes


 











(This review was written for the International Journal of Comic Art 20:2, but this version appears on both the IJOCA and ComicsDC websites on November 23, 2018, while the exhibit is still open for viewing.)