Paul O'Brian writes about Watchmen, trivia, albums, interactive fiction, and more.

>SUPERVERBOSE

Month: June 2008

Fish in Boulder, 6/12/08

My first exposure to Marillion came in 1985, when a local radio station started playing “Kayleigh” semi-regularly. I adored that song, and my friend Kevin was a fan of the band, so I taped the Misplaced Childhood album from him. Well, I liked that album enough that when its sequel Clutching At Straws came out in 1987, I bought it right away. I even had a big poster of the album cover in my room, thanks to my job-at-the-time with a record store. Both those albums stayed on heavy rotation throughout my high school years. The driving, Who-ish music was great, but what I loved the most were the poetic lyrics, passionate intensity, and thrilling voice of the lead singer, a chap who went by the handle “Fish”. (His real name is Derek Dick — I guess I’d pick a pseudonym too.)

Sadly, after Clutching, Fish left the band, and I stopped paying attention. Marillion released more stuff with a new singer, but it didn’t captivate me, and as far as I knew, Fish disappeared completely. If only the Internet had been around in those days, I’d have learned soon enough that he’d done no such thing. Instead, he came out with a solo album a mere 3 years later, but I never saw that album — Fish is Scottish, and I guess as a solo artist he didn’t have a big US distribution deal the way Marillion did. He then went on to release eight more solo albums, the latest of which, 13th Star, came out earlier this year. I never bought any of these, even once I knew they existed, because as imports, they all carried high price tags. Since post-band solo work is often inferior, it felt like too much money to spend for the risk involved. However, when I saw he was touring the US for the first time in 10 years and playing a lot of late Marillion material, I decided I needed to go. Even better, I figured out that I could download 13th Star from iTunes for almost half of what Amazon wants for it. Thanks, Internet!

The Incredible Hulk

The Hulk isn’t a superhero. He exists in a world of superheroes, and he was created second (just after the Fantastic Four) during the most legendary superhero-creation-spree of all time, Stan Lee’s run at re-envisioning costumed crusaders for the 1960s. But he’s not a superhero, any more than Godzilla, Frankenstein’s creature, or the Wolfman are superheroes. (Though they, too, were all adapted into comics form by Marvel.) He’s a monster. He comes out of the tradition of monster comics that Lee was writing just before he invented the FF, and although the Green Goliath was constantly encountering Spider-Man, the X-Men, Thor, Iron Man, Captain America, and so forth, as a character he has very little in common with any of them. He was one of the original Avengers, but there’s a reason why his membership only lasted two issues.

Superheroes are people (or entities who might as well be people) with extraordinary abilities, trying to do good. The Hulk, at least in his most famous incarnation, lacks the mental capacity to form such an intention. Although superpowered (what with being the strongest individual in the world), he is no hero. He’s a pure destructive force, extremely dangerous to anyone and anything he encounters. Sure, he’s misunderstood, and he’s constantly trying, unsuccessfully, to be left alone, but the Army is right to try to neutralize him. He’s like an unstoppable, indestructible, infinitely strong, emotionally abused toddler who lacks any sort of parental figure. The only control on him is his alter ego, who (understandably) is constantly trying to eliminate his greenish tendencies, but of course, if that happened, there would be no story. So it’s never going to happen in any permanent way.

All this presents quite a problem when you’re making a Hulk movie. You’re stuck with a monster movie that you have to somehow sell as a superhero movie, because in the mistaken public mind, the Hulk is a superhero. So what do you do? You make him sympathetic (not hard given his misunderstood quality.) You make Banner really likeable and tie the two together so that it’s clear that the Hulk, dangerous as he is, is a cage that’s wrongfully imprisoning a good person. You taint the intentions of the Army, who really ought to be the heroes of this story, so that they turn from protectors of humanity to destroyers of it. Finally, you provide a villain who’s as powerful as the Hulk but is genuinely evil rather than just rampant, so that we must root for the Hulk to emerge, because he’s the only thing that has a chance of stopping this other force.

Louis Leterrier does all these things successfully in The Incredible Hulk, but he does one more thing too: he stuffs the movie with so many sly references to comic and TV lore that it firmly establishes itself, especially in the wake of Iron Man, as a clear attempt at putting the Marvel Universe on screen. For me, at least, that was where the fun really came alive.

Angel Season 4

Season three of Angel had a great arc, and a cliffhanger ending. Season four resolved the cliffhanger well enough and managed a couple of strong episodes, only to descend into a disappointing spiral, full of bewildering choices, shredded continuity, and the same kind of personal disintegration that characterized season 6 of Buffy. As a whole, these episodes had less humor and fewer highs than ever before. The show recovered some ground for the final third of its season, luckily, and wound up in a head-scratcher of an ending that certainly piques my interest in the beginning of season 5.

*** Turgid, supernatural spoilers below ***

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