Over at Marvel.com, The Avengers movie has gone to pre production / PR stunt levels with the full team being given an amazing full digital paint job. Featuring all of the Avengers (Black Widow, Iron Man, Captain America, Thor, Hulk, Hawkeye, Maria Hill and Nick Fury). In it we’re getting some hints – including a familiar looking cloud based battle cruiser in the background. All things are looking good at this stage as fun is visibly being had and Marvel isn’t taking itself too seriously on this project. That should be its saving grace as the entertaining side of both Thor and Iron Man were what won them the fans. If Captain America lives up to the hype Marvel Entertainment’ll only have one more hurdle to get over. This beast. Now feast your eyes ’til they burp.
Well, Avengers has been filming for about a day and already there’s an official image from the set. I warn you though, it does contain one pretty major spoiler…
That’s right. The Avengers have chairs. Might as well not bother seeing it now, eh?
Seriously though, it’s nice to have a peek at the set and it means that the anticipation can officially begin. Time to re-read Ultimates, start declaring the Captain America movie to be passé and get the countdown clock ticking. The earth’s mightiest are coming.
Inevitably as an exhibitioner, even one doing the wander around – you miss things inevitably and there was a hell of line up over the course of the weekend. The day was high end and everyone involved (from IGN, Millarworld, Clint and the Business Design Centre) – had pulled out all the stops. Behind us was Markosia, run by Harry Markos. Markosia is effectively the mainstay of the independent comic book scene. I’d been lucky enough to meet up with Harry once before. We didn’t realise he was behind us until half way through the first day. I arrived at the 2000AD stand too late for a portfolio review because I hadn’t had a chance to find out where it was. The way to define a convention is not just by what you see but what you miss. Turns out, after a little scraping away it becomes clear there were some genuine diamonds just out of sight (if heavily sign posted).
Of course, Mark Millar was present but was effectively operating on an entirely different level to the rest of the place. Like a machiavellian god with Postman Pat hair he was only spotted by us once throughout the entire event. News I had back however was that he was friendly, cordial and helpful about the place. Millar is on a pedestal in an industry populated by people who are often happier being ashamed of themselves and both myself and Dan, when presented with an opportunity to meet him – didn’t want to bother him – advice I could’ve given myself earlier in the day (more on that in another blog). It was inevitable that Millar was going to take some flak across the bows for having the gall to elevate comic books above the level it has been stuck at over the last ten years. Regardless of his intentions or reasons, Kapow was a massive success with things popping out of woodwork all over the joint if you were looking.
Jonathan Ross reportedly nailed a show over on one side of the room while Quitely and Leinil Yu quietly began the proceedings on the Guiness World Record attempt to involve the most people in a single comic book in one day on the opposite side, down by the IGN stand (something I managed to be involved in). The sheer scale of what was taking place was enormous. Chris Hemsworth was in the building at some point for the Thor launch and there was talk of a mystery movie – which clearly was so unimpressive that we still don’t know what it was. Highlighted as Movie X, myself and Dan distracted ourselves from the replaying Batman/ Green Lantern game promos playing repeatedly in front of us by taking guesses as to what it’d be about.
X-Men: First Class? Matthew Vaughn and Jane Goldman (Jonathan Ross’ wife) have close connections with Millar following Kick Ass last year. Thor? Chris Hemsworth in place you’d think they wouldn’t bother flying him over for that one if they could preview the film. Kick Ass 2 was suggested at one point though the liklihood that messrs Vaughn and Goldman knocked out a major sequel quietly with no PR or evidence of production seemed a little far fetched. Things turned again when it was revealed (by a bloke somewhere) that it was an 18 and involved a guy in cape. At that point we gave up. If anybody’d taken a look at the Kapowcomiccon site it clearly said there was preview footage of Hobo with a Gun. Starring Rutger Hauer as the aforementioned hobo it looks like a breakneck ‘Braindead’/ ‘Bad Taste’ mash up. Someone even lets ol’ Rutger do a little ‘burning off the orion belt’ ad libbing while staring at a baby. Nobody expected this? This looks like a great movie! Why don’t they just call it Rutger Hauer is a vengeful tramp! You wouldf have had to have chained me to something to stop me from kicking the doors down to see it!
But there was bigger news in that the Green Lantern movie looks like its back on track. 8 minutes were played of the film – in excess of the 4 available online and everyone was turned as a result. CG more intact, tone a little heavier and more intelligent and obscure images from the original trailer resolved in the new material. This is good news as we here at the Bunker had dismissed the Green Lantern movie as a disappointer of the masses based on the previous output but right now we’ve got the focus back on. I’ll admit Geoffrey Rush as Tomar Re took me by surprise. The whole thing is
Also out there was Attack the Block’s writer and first time director Joe Cornish of Adam and Joe who was doing signings and photos at the IGN stand while I was drawing. The crowd was being ‘entertained’ by a guy who looked and sounded like he’d be happier at the X-Games than a comic convention and locked onto the idea that Spider-man 3 was shit to exactly one person’s noisy agreement. Meanwhile, pleasant man-child Joe Cornish (responsible for my favourite Radio 6 show by the way) was out of sight making geeks happy. Attack the Block is the story of hoodies battling Aliens in South London and was inspired by Joe getting mugged. The empathy of that man is astonishing. But it looks fukkin’ bo muvver! Bare Good! Check it out.
There were folks from Misfits (Iwan Rheon (Simon) and Lauren Socha (Kelly)), Merlin (Colin Morgan (Merlin)), Bradley James (Arthur), Angel Coulby (Gwen) and Katie McGrath (Morgana) as well as folks (Dakota Blue Richards (Franky), Sean Teale (Nick) and Jessica Sula (Grace)) from Skins, World Exclusive Pilot of Falling Skies and Toby Whithouse, the creator of Being Human. Games previews for Super Street Fighter IV 3D Edition, Nintendo 3DS, Lego Star Wars 3, Operation: Flashpoint and Dirt 3 from Codemasters.
Present were Mark Gatiss, Lienil Yu, John Romita Jr, Bryan Hitch, Simon Bisley (which was so last minute I couldn’t find him) Olivier Coipel (apparently), Kevin O’Neill, Paul Cornell (sporting a comedy beard for charity much to his own embarrassment), Noel Clarke, Mick McMahon, Brett Ewins, Brian Bolland, David Lloyd, Andy Diggle, Liam Sharp, Sean Philips, Adi Granov, Chris Weston and Eric Stephenson. Not one of these people I saw.
The important thing is who I did….
Now you might well think that we were just going to wander up to Kapow with a box full of books and try to push them off onto any unsuspecting soul walking by. But no – we plan (hope) to offer choice!! CHOICE!! That’s right. Not only the heady goodness that is a copy of Moon 1 but you can (perhaps) buy badges of various designs AND the First Beyond the Bunker DVD – a collection of mine and Dan’s short films (mostly Dan’s if I’m honest – I was drawing things). 6 of the best from the BTB Film collection no less with The Devil’s Fork, Cock, the newly minted Wild Watch – fresh from success at the 2 Days Laughter short film competition – some children’s television entertainers sanguine too with Edd: Ducking the Past, (Box):Fresh and the film that spawned the legend – The Day the Moon got too Close. All on 1 DVD! Plus extras! Plus I think there’s a trailer on there somewhere- WOOHOO!! (Ahem).
However, the badge company have informed us there are delays to the delivery and the DVD covers are currently with an unnamed supporter of the Bunker who is risking all to complete them all and get them back to us tomorrow night… so we’ll have to see what happens…..
But who cares because we have Moon 1 and Fallen Heroes will be available to all comers (limited supply of FH 1 so get in quick at the Fallen Heroes table!!).
Mark Millar is a media operator, while his peers have a natural talent for recognising the effect of what they do and cross mediums in their choices of content (Morrison in particular can ascribe a lot of his success to his cinematic, literary and popular culture referencing across his comic book work) noone gives you the feeling that they’re not operating on a comic book scale – that the medium is considered too small for the individual involved. Indeed, Millar has expressed a want to break out of the confines of the comic book industry. A belligerent creative child at the heart of commercial companies, it was unlikely that the traditional and watchful Warner Bros (home of Bugs etc) would tolerate such an enfant terrible. Indeed, where novels are a breeding ground of controversial and broad opinions and a fevered battleground of freedom of speech, Millar made clear that comic books at the turn of the century enjoyed no such freedoms.
Detailed in the last part on Tuesday, there were offered a couple of examples of Millar’s run on the aggressive and controversial Authority title for Wildstorm (an imprint of DC, a subsidiary of Warner Bros). At this stage, with Millar’s Authority pouring in money from buoyant sales DC balked at the destruction of cities and high death tolls in the aftermath of 9/11. With ferocious fan interest and critical acclaim Millar’s Authority suffered an unexpected at the height of its popularity, internal editorialism. DC misjudged the mood of America. While there was shock and anger from the events in New York, networked globally, the general American was facing new realities that European, Asian, African and Middle Eastern nations had long been aware of – that their borders were no longer safe. The war machine beginning to roll into slow motion under the Bush administration, looking for targets belayed a more mature attitude in readerships in the US. A renewed awareness of their vulnerability to powers greater (or more insidious) than their own. A culture of wry and interested fatalism and assured realism was born in the wreckage of 9/11 among certain sections of American society – particularly in the more informed and connected East and West coast and in comic readership. Embryonic at the time – it is now perhaps more visible in the lack of interest in Marvel’s attempts at introducing a new Golden Age of Heroes. Finally, that period in comic books has passed and Millar represented it far better than most with his aggressive, edgy and deliberately sardonic style. DC didn’t agree and Millar began to bite at the chains that bound him, eventually swapping, following some well paid projects for Marvel, to the New York entertainment giant in 2001 to create the Ultimate Universe.
The Ultimate line was an imprint of Marvel comics introducing the Marvel Universe if it was formed today. What was created was a much more hardbitten and edgy number of heroes engaged in political, military, social and personal strife – though the imprint of Stan Lee’s original concepts of character fuelled titles was perhaps put at the bottom of the list of priorities – this was more a love letter to the movie industry and may well have instigated the wholesale redevelopment of major Marvel characters; Thor, Iron Man, Captain America and the Avengers to the big screen.
To begin it was Marvel’s most commercially successful title; the X-Men that was renovated to Ultimate status. The characters now more belligerent, obstinate and teenage than Lee’s incarnations, Millar imbued them with the all-knowing arrogance of teenage Mutants. A total reboot, X-Men was the first title to begin to represent its predecessor as the title inevitably followed the numerous characters plot to the most obvious conclusion; a coherent team of mutants trying to battle the world. While recreating many of the scenarios and plots from the original series; Weapon X, the Nuclear Plant detonation from Issue 1; Millar struggled (perhaps unsurprisingly) to supersede the mainstream series, most likely because it had been the home of some of the foremost artists and writers of the previous quarter century and Marvel’s most innovative title. It was fun though, bitter and harsh at times but with a self conscious teenage cool and a moral ambiguity in the leaderships of both the X-team and the Brotherhood of Mutants (sensibly without the somewhat detrimental ‘Evil’ in the title). The title proved popular and Millar moved to expand the Universe with his incarnation of the less developed Avengers. This was to be his best move.
While all this was taking place; an independent book written by Millar and drawn by J.G. Jones was in preparation. Wanted was released in 2003-2004 and tore a hole a mile wide across conservative comics, kicking them and DC firmly into touch. The lack of belief DC had shown in its readership was proven by the success of this book; featuring a world only populated by Villains – the heroes wiped out some years previously. Opening with bisexual orgies, graphic assassinations and cheating girlfriends the protagonist secretly hates; the patented anger brewed up with the previous years of censorship came spewing out. Featuring characters like Shit-head (formed from the fecal matter of the most evil people in the history of man), Mr Rictus (a skull faced sadist) and Fuckwit (a superhero clone with Downs Syndrome), the protagonist Wesley Gibson electrocutes and rapes celebrities, kills hundreds while ingratiating himself with the Fraternity of Super-villains. It went astronomical, a readership hungry for a challenge snapping it off the shelves as quickly as possible. The intention of Millar was to create a wry and morally and ethically void space in which to populate his darkest writing to date. Ferocious, unforgiving and incredibly unapologetic Millar is every parent’s worst nightmare and every kid’s dream writer. Any book that ends with a full page spread with the central character’s top half leaning in aggressively and shouting ‘This is me fucking you in the ass!’ is to be reckoned with.
Millar is troubling for that reason – his bouts of self control working for commercial giants are interspersed with pure filth and its hard to tell who he is. The knowledge he goes to church every Sunday only deepens the confusion as he represents so little of what is good or ethical about comic books. He represents shameless populism and crowd pleasing. His thinking far deeper than content, Millar has proven, having now been given a stage big enough, that he will stop at nothing to crowd please. Although a great and powerful writer, he lacks the sensitivity and at times subtlety of peers like Morrison and Moore but will stoop as low as the public needs to. His books are the equivalent of throwing the christians to the Lions at the colliseum and feel at times like the breakdown of the medium at the same time as being the bleeding edge and the expansion of it.
His take on the Avengers, the Ultimates, represents the epitomy of modern, advanced and knowledgable writing that transcends the format of comic books and expands its reach. Where the Avengers title – holding tight throughout the nineties and naughties to its showcasing of Marvel’s most heroic and impressive characters – was losing steam, the Ultimates upped the ante and caught the popular edge of the characters within the title. What ensued is a high concept, high octane, gripping and effecting story of disparate heroes representing many fields, Military, special ops, science, media, big business, liberal politics and mainstream politics trying to get on. Brilliantly, Ultimates shows that the characters that have cooperated so effectively in their time in Avengers would create such strain amongst themselves that they represent a larger liability than the threats they pose. Effectively the tale of a political / military complex trying to justify its own existence it spends most of its time fighting off threats within its own ranks. However the set pieces, rendered beautifully by Bryan Hitch – in which the team occasionally rally to combat real threats to the world are truly monumental. There is some poignant character writing within too, most notably involving the emotionally crippled Bruce Banner and the man-out-of-time Steve Rogers.
After 33 issues, Millar left Ultimate X-Men and wrote the number one hit title Marvel Knights Spider-Man in 2004, He also co-wrote the first six issues of Ultimate Fantastic Four with Brian Michael Bendis. He later returned to that title for a 12-issue run throughout 2005-2006, and created the Marvel Zombies spin-off title in his first and final storylines.
But it is his Millarworld movements that interest us here at Beyond the Bunker as Millar is using his considerable weight to focus the comic book industry back towards Britain. Writing Kick-Ass, while in parallel, British film makers Matthew Vaughn and Jane Goldman made a motion picture version secured the success of both by shoring up the other. Both were british made (though Kick-ass was published as a Marvel Imprint) and have kick started a smaller, more quiet UK invasion back from the US. From the success of this Millar launched Clint, in association with Jonathan Ross and Frankie Boyle (both oddly British comedians), an anthology title in the style of 2000AD. Largely hyper-violent and named deliberately to look like the worst kind of swear word from across the room it can’t be accused of being high brow but it does appear to be working. There is no doubt that Millar’s efforts are reinvigorating the UK comic industry and whether this is sustainable is up to him and us frankly. While his motives are unclear and open to great speculation in the halls of comic conventions in the UK – he has reopened a door thought closed by being the most highly valued writer of the last ten years. His writing has excited, enthralled and challenged a very wide generation and expanded the interest in comic books to the wider population (though unfortunately not to 90s levels) but why are we putting all this on one man? Perhaps because he has proven he can handle it and come back with more. Millar might be the revolution we’ve been looking for and like all revolutions you have to applaud its effect if it moves things forwards and not linger too long on the man forcing it forwards and his motives except to applaud that he has and achieved something something special for himself and potentially for the entire UK comics industry. You can’t be bothered by Iconoclasts if you’re not an icon and within this industry that Millar is absolutely an icon for the 21st Century.
We’ve known for a while that Mark Millar was holding back some surprises for next week’s Kapow Comic Con, but even I’m a little shocked by this one. Chris (plays Thor) Hemsworth, Tom (plays Loki, looks too much like Alan Cumming) Hiddleston and Kenneth (f*ing) Branagh have just been announced as surprise guests at the convention!
The trio of stars will be heading up a panel on Saturday in which they will be taking questions about the film as well as screening a selection of never before seen footage. Hopefully Hemsworth will also smash a coffee cup for our amusement.
Understandably, given the announcement, ticket sales for Kapow have just gone cosmic and they’re down to about 200 tickets for Saturday and 400 for Sunday (though bear in mind that I’m taking this from the Millarworld forum post which was updated several hours ago so that number may have gone down by now). If you want to go to Kapow and you don’t have a ticket YOU NEED TO BOOK ONE NOW!
With guests from shows like Misfits, Being Human, Attack The Block as well as the first screening of a currently-still-secret-summer-superhero-movie, Kapow honestly looks like it could be the geek event of the year. Most importantly of all (astronomically speaking) Moon will be there as well, tearing up the stands with his big Mooney goodness. If you want to see Steve and I running around like headless chickens and attempting to force Jonathan Ross into a Moon head, then this is about your only chance.
You can buy tickets for the event HERE!
John Salvatore Romita Jr or JRJR (born August 17, 1956) is an American comic book artist best known for his extensive work with solely with Marvel comics from the 1970s to present day.
Born and still living in New York city, Romita Jr is influenced heavily by the city around him and that he grew up in. Fittingly he has remained at the company that calls New York home, 367 Park Avenue South or Marvel Comics throughout his professional career and his work has become synonomous with its most famous characters. He was born to John Romita Sr, co-creator of several notable Spider-man stories in the 1960s and 1970s. In true New York style it could be said that drawing Marvel comics is the family business.
Oddly Romita Jr began his career at Marvel UK, doing sketches for covers of reprints. His American debut was with a six part story entitled ‘Chaos at the Coffee Bean!’ in Amazing Spider-man Annual 11 in 1977. At this point Romita Jr’s artwork represented the time it was being produced with clean linework and animation standard (simplified) detailing. But his characterisation and simple adjustments to the panel by panel and simple visual storytelling that was taking place then won him a lot of fans. His characters weightier and more rounded than others, his line work curvaceous and bold when necessary Romita Jr’s style was bold and easily digestible. Romita Jr is a commercial artist, offering bold and brash imagery that feeds the eye more for the same price as other artists.
Romita’s early popularity began however with his run on Iron Man with David Michelinie and artist Bob Layton which began in 1978. He was eventually offered his first regular run on Spider-man in the early 80s and was the artist that launched the Dazzler series. In this period Romita Jr co created the character of the Hobgoblin with writer Roger Stern – a kind of Green Goblin light with his own good / evil morality in play, Hobgoblin represented a genuinely unrestricted and unfamiliar goblin for Spider-man to play with.
From 1983 to 1986 he had a popular run on Uncanny X-Men, introducing the future X-man Bishop in his tenure in a brutal and distinct storyline that battered the edges of what was being done in comics at the time. Romita Jr returned to Uncanny X-Men in 1993 in which he pencilled the Fathers and Son’s crossover Uncanny issue in which Prof X and Magneto collide and Magneto has his mind removed. He depicted the turning of Colossus and his joining of the Acolytes and the showdown between Xavier and his X-Men and Magneto and his Acolytes on Asteroid M in the Fathers and Sons X-over that made history with the release of X-Men 25. Romita Jr’s work was bold, reminiscent of 50s and 60s pop art and exploded from the page in a way nobody else’s did at the time.
But prior to his second stint on Uncanny X-Men Romita was granted an extended stint on Daredevil with writer Ann Nocenti and Eisner award winning inker Al Williamson. In this period he began to develop the Romita Jr style we see now. Shoulders and shape became more developed and something significant happened… Romita Jr broke the rules…
Most artists use a series of bubbles in place of parts of the body in order to decide placement, perspective and shape. The leg would be perhaps five parts (the longer larger upper leg, the smaller oval knee joint, the slightly bannister like lower leg / shin, perhaps a round joint at the ankle joint to indicate a change of angle and an uneven tear drop shape to form the foot). You can achieve this easily with every body part and build an entire Human frame using these bags. You then pencil over it, define the shape clearly and subsume it in ink – hiding your working underneath all that.
Romita Jr doesn’t. His characters are effectively the same set of shapes inflated and deflated according to the size and shape of the character. The sawn off frame of Wolverine is the same as the tall powerful frame as Colossus. The Punisher from Romita Jr’s very cool run in Punisher: War Journal is the same shape as Wolverine. Art law says this is bad practice. That by showing your working and working from such a clear template is not art. Romita Jr has made one thing clear in the nicest possible way. He simply doesn’t give a shit. And neither should he.
Romita Jr’s success is built on these parameters. The characters represent mannequins on which Romita Jr applies the feelings and the events that are taking place around them. He applies garish, squared and diametrically even surroundings that draw in the eye and hold it there. He isn’t a naturalist or a life artist, Romita Jr is a comic artist and a purist and never an apologist.
He has built an incredible career with the same company (even his other company credits are Kick Ass – printed through Marvel’s Icon Imprint, Punisher/Batman in association with Marvel as well as DC and admittedly 1 credit with the Gray Area 1-3 in 2004 with Glen Brunswick for Image Comics). He is a class act and no freelancer – he has a job with a reputable company which he is doing well and there is no reason he should stop doing it.
Rolling out Spider-man, Avengers (most recently the new Avengers series), Black Panther, Daredevil, Iron Man, Cable, Punisher, The Eternals, The Hulk, Fantastic Four, Thor, X-Men, Ultimate Vision, Wolverine, Sentry and pretty much the only thing worth picking up World War Hulk for by ingraining it with such force and mind-bending power on each that it was a joy to behold.
The fact is with Romita Jr, you can see the workings but you can also see the most basic rules of comic book art. Clean lines reminiscent of the 60s era in comic books, graphic and bold line work that still belongs on an Andy Warhol Pop art wall hanging. Romita Jr is keeping historic conventions alive and kicking in his work. If you look at his work you can still see the influence of Ditko and his dad, Romita Jr and the reason that everything we see in comic books today comes from it. I hope Romita Jr remains at Marvel for a great many years.
He’ll be attending the Kapow Comicon in London on April 9-10th and I hope to catch him there. My work isn’t much like his but frankly I think that’s because I’m not sure I’ve fully learned how to draw comics.
Another day, another new trailer, but this may well be the best Cap preview yet. We get to see a fair bit of pre-super-soldier Steve Rogers (I still have no idea how they managed to make Chris Evans look that small) as well as some previously unseen Tommy Lee Jones footage.
Ever since the first teaser appeared I’ve been totally on board with this film and this trailer has only increased that excitement. Along with Thor I have a feeling we may have two of the strongest Marvel movies yet on our hands here. It’s just a shame that Green Lantern doesn’t seem to be living up to these two. Still, it ain’t over until the credits roll, so let’s see how they pan out.
If you’ve read Steve’s latest post then you’ll probably have guessed that things are getting rather busy here in the bunker. We have a couple of massive announcements due very soon but in the meantime we’ll continue to bring you all the geeky news you can fit in your face.
Speaking of announcements Marvel had a little proclamation of their own last night. After weeks of teasers and hints, Editor-in-chief Joe Quesada finally unveiled Marvel’s big project for 2011: Launching in April, Fear Itself is a seven issue crossover written by Matt Fraction (Invincible Iron Man, Thor) with pencils by Stuart Immonen (New Avengers).
Speaking at Midtown Comics in Times Square last night, Quesada opened proceedings with a rather curious statement: “All you need to do really is turn on a TV, a computer, a radio, and you’re sure to find a pundit, a politician, a prophet out there ready to tell you what you should be afraid of, who’s responsible and why you should be afraid of them. It’s a world divided. At the end of the day, you’ve got to ask yourself who should you trust? Who do you trust? 24 hour news cycles, weather change, WikiLeaks, depression, recession, bailouts, bankers.” He then handed over to a pre-recorded video from Matt Fraction in which the writer hinted at specifics and gave the usual “nothing will ever be the same!” speech that these events require.
So should we be excited about all this? Well, right now my personal jury is out on the matter. On the one hand I’ve gotten less and less interested in mega-crossovers in the last few years. By their very nature they tend to be overhyped and because of the difficulty of coordinating so many different titles all telling the same story, the pacing is often a little wonky in places (remember Secret Invasion?) There’s also the issue that in order to really get the most out of an event you have to dump a tonne of cash into buying all the tie in books so that you get the scope. I did that with Civil War and it was a great comic book experience, but I’m not sure I see myself spending this much again.
But then there are some pros too. I’ll be honest, the high gloss, retro feel of The Heroic Age has been fun but it’s not really produced a great deal of ground breaking material and I can’t see myself trying to get a friend to read Avengers in the same way I would with some of the Civil War/Initiative era stuff. For me Marvel comics are at their best when they’re talking about the real world and if Quesada’s speech is anything to go by, this may well signal a return to that.
The team is a good one too. While events are often the great leveller of talented writers, I really really love Fraction’s work and (as much as love Bendis) it’s refreshing to see somebody else get a crack at a big event like this. Immonen is another personal favourite of mine so the thought of him handling a big event like this is pretty exciting (he’s even handing over his spot on New Avengers to give it his full attention).
There are other factors to think about. For example, the title leads to speculation that the villain could be Phobos, child-god of fear from Secret Warriors and if you know anything about Secret Warriors you know that Phobos is freakin cool. But stuff like this will have to wait until we know more details. For now it’s time to sit back, make wild predictions about who dies and enjoy the cascade of parody work that’s already appearing on the web:
Mark Millar’s been highlighting an interesting story on his blog this week. It seems that white supremacist groups are rather ticked off about the casting of black actor, Idris Elba as Heimdall in the upcoming Thor movie. According to the rather bluntly named Boycott-Thor.com “Marvel has now inserted social engineering into European mythology.” They’re also quite keen to point out that The Guardian newspaper wrote an article saying that Thor was probably going to be crap (nothing to do with the racial aspect, The Guardian just don’t like super hero movies). Yep, white supremacists are quoting the Guardian as a source. Go figure.
I wouldn’t normally bother responding to something as daft as this. Pretty much every fantasy movie manages to offend some nut job about something or other, but in this case it relates to a question that we actually had to look at in the course of one of our projects. The first film that Steve and I did together was a Viking horror short called Ragnarok Dawn set in the mid 11th Century in the twilight of the pagan Viking era. During the casting process we were offered a chance to work with a very talented black actor by the name of Noel Wesley and so found ourselves asking the same question that is being banded around here: were there black Vikings?
Well the short answer is, ‘we don’t know.’ Despite what the people behind such campaigns as Boycott-Thor might wish you to believe, a pile of bones don’t tell you a lot about the colour of a person’s skin. But we can make an educated guess based on what we know about Viking history. It’s easy to think of the Vikings as a bunch of guys who lived on the coast of Denmark and occasionally popped over to pillage Yorkshire but this is a long way from the truth. The term ‘Viking’ is a catch all term for an extremely varied set of groups which, at their peak, were active in almost every corner of the known world and beyond. There are the Vikings of Leif Ericson, who landed in Canada; the Rus, whose influence stretched all the way to the walls of Babylon and Constantinople (and who may or may not have a fairly major modern country named after them depending on who you talk to); even the Normans, those great paragons of Frenchness, were originally of Viking stock. By the end of what we could rather loosely call ‘the Viking age’ being a Viking was far less about where you were from and more about the way you lived and thus it was very hard to say exactly what a Viking was. So it’s safe to say that Vikings would have had direct contact with black people but did they recruit any into their fold? Again it’s hard to say for sure, but it’s important to remember that the Vikings were, above many things, practical. If you are putting together a Viking crew on the shores of the Black Sea and you don’t have enough native Scandinavians to make up the numbers are you honestly going to trek all the way back to Norway to find more? Cities like Constantinople were melting pots of different cultures and to assume that the Vikings were immune to the kind of natural multiculturalism that occurs in such environments defies logic.
So we can say that historically speaking, there is a basis for saying that you could find a black man on a Viking crew (which is why you can see Mr Wesley’s fine performance in our humble film), but what about having a black man playing a norse god? Well this can probably best be summed up with the following statement:
IT’S A FUCKING SUPERHERO FILM!
Seriously. This is a movie about a guy who throws a shoots lighting out of his face, fights trolls on the streets of small American towns and has a cape that considers the laws of physics to be ‘something other people do’. It’s based on a fictional comic that is based on fictional myths about fictional people. That’s so many levels from reality that you don’t get to complain about historical inaccuracies any more than you get to complain about the fact that Tony Stark can land the Iron Man at full speed and not turn to jelly inside the thing. Elba himself was interviewed about this by the Radio Times a while back and I think he probably sums it up better than anyone:
“Hang about, Thor’s mythical, right? Thor has a hammer that flies to him when he clicks his fingers. That’s OK, but the color of my skin is wrong? I was cast in Thor and I’m cast as a Nordic god. If you know anything about the Nords, they don’t look like me but there you go. I think that’s a sign of the times for the future. I think we will see multi-level casting. I think we will see that, and I think that’s good.”
Good on you sir.