BOOK REVIEW: Marvel’s Avengers: Infinity War Prelude by Will Corona Pilgrim

Marvel's Avengers: Infinity War PreludeMarvel’s Avengers: Infinity War Prelude by Will Corona Pilgrim
My rating: 4 of 5 stars

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This two issue comic book was released in advance of “Avengers: Infinity War.” It revisits the events of previous movies adding a few snippets of new material here and there. Of the new material, much of it elaborates upon events that are known to have happened behind the scenes of earlier movies. Not surprisingly, given Marvel’s penchant for secrecy, there are only a few frames that offer insight into activities that a fan who’d seen all the preceding films would be in the dark about.

I’m assuming that anyone considering reading a prelude to “Infinity War,” by this point, has already seen that movie and relevant preceding films such as “Captain America: Civil War,” the first two “Avengers” movies, “Guardians of the Galaxy 1,” and “Doctor Strange.” If that’s not the case, and you want to avoid potential spoilers, stop now.

The first issue recaps “Captain America: Civil War” while providing insight into what happens with Captain America’s team in the wake of that film, at the end of which they find themselves on the wrong side of the law. Much of the issue is verbatim repetition of the events of that movie. There’s also elaboration about the Black Panther’s assistance to Winter Soldier (Sgt. Barnes) via his genius sister Shuri, as well as a scene showing what Captain America, Black Widow, and other team members are up to in the aftermath of the breakup of the Avengers.

The second issue consists largely of Wong schooling Doctor Strange on the powers of the infinity stones and their current whereabouts. Those who’ve seen all the films know that five of the six stones were accounted for before the third Avengers movie. Only the whereabouts of the soul stone remains in doubt. This book doesn’t solve that mystery and merely offers a cryptic comment about the soul stone’s power. As Wong is describing events, the reader is shown flashback scenes from the movies and post-credit scenes that explain where each stone is and how they were used in “Guardians of the Galaxy Vol. 1,” “Thor: The Dark World,” “Avengers 1 & 2,” “Doctor Strange,” etc.

If you are an intense fan who craves every new bit of information, you may enjoy combing through this comic book. Otherwise, it’s mostly of use for those who are planning on seeing “Infinity War” but who haven’t seen “Captain America: Civil War,” “Guardians of the Galaxy 1” (which contains a brief piece of exposition that clarifies the nature of the stones), or the previous “Avengers” films. I don’t know how big that demographic is, but I suppose new fans are coming along all the time. I wouldn’t recommend you purchase the prelude expecting anything new and earth-shattering. The art and dialogue are all well done and inline with the Marvel Cinematic Universe (MCU) films.

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BOOK REVIEW: Black Panther: A Nation Under Our Feet, Vol. 1 by Ta-Nehisi Coates

Black Panther: A Nation Under Our Feet Vol. 1 (Black Panther (2016-))Black Panther: A Nation Under Our Feet Vol. 1 (Black Panther by Ta-Nehisi Coates
My rating: 5 of 5 stars

Amazon page

 

This book contains the first arc of a three arc story written by Ta-Nehisi Coates, a 2015 National Book Award winner. The volume contains “Black Panther” (2016), #1-4, and—as a bonus—“Fantastic Four” (1961) #52, which is the edition in which the Black Panther was introduced.

The premise is that Wakanda is on the brink of coming apart at the seams, and there are nefarious forces afoot trying to spur a revolution. A mysterious woman, Zenzi, uses mind control unleash people’s rage. This results in an episode of violence that is the inciting incident for the story. But Zenzi isn’t working alone; she has a powerful ally named Tetu, who can control elements of nature.

Some background maybe useful for those unfamiliar with this character and / or who haven’t seen “Captain America: Civil War”–the movie in which Black Panther / T’Challa was introduced to the Marvel Cinematic Universe (MCU.) First, Wakanda is a fictional African nation. It’s quintessentially African with respect to culture, but it’s the most technologically advanced nation in the world. It achieved this first-world modernity and wealthy in large part because it possesses most of the world’s vibranium—a much desired, but fictional, metal. Vibranium can absorb huge amounts of energy and only become stronger. The metal is most famously known for being the material from which Captain America’s shield was made, but it crops up in Marvel stories quite frequently.

Second, the superhero Black Panther is the protector of Wakanda (though in some books—not this one—he does get drawn into global affairs) and is the alter ego of the Wakandan king, T’Challa. This duality is particularly relevant in this story line. On the one hand, the Black Panther must battle Zenzi and Tetu who are working together to bring the nation down. On the other hand, as King, T’Challa is forced to recognize his responsibility for the health of the nation, and he must be a good leader and not just a good fighter. There are the makings of an inner battle that must be fought concurrently with the battle against the enemies of the state. At the end of Volume #4, T’Challa is forced to face this through the words of a trusted maternal advisor.

In addition to the main plot in which the hero fights to keep the nation from collapsing, there are a couple of subplots. One involves an ex-member of the royal guard (i.e. the all-female Dora Milaje) using stolen technology to rescue her lover, another ex-member of Dora Milaje who was sentenced to death for killing a corrupt tribal leader. The two go on a spree of rescuing Wakandans. Another subplot involves T-Challa’s sister being trapped in a limbo between life and death called the Djalia—the plane of memory.

A word on the “Fantastic Four” comic book included: In it, T’Challa woos Reed Richards (Mr. Fantastic) into bringing the Four to Wakana by way of the gift of a flying car—a technology that seemed only slightly more feasible in 1961 than it does today. (Yes, I wrote that the way I meant it. In those days anything seemed possible. But after decades without a household jet-pack, we’ve become a more technologically pessimistic people… or is it just me?) Once in Wakana, the Black Panther battles the Fantastic Four, using not only his athletic prowess but also a series of technologies tailor-made against their powers. This makes it seem like the Black Panther was introduced as a villain, but he’s hunting them for the challenge rather than out of ill-will.

As would be expected from an award-winning author, this arc is well-written and sets up a fascinating story. As this is a comic book, I should also talk about the artwork, which was done by Brian Stelfreeze. However, I don’t know what to say beyond that I liked it well enough. I’m not particularly competent to speak on the subject–other than to say that it was generally easy to tell what was going on in the frames, and the action seemed to be well conveyed. I can’t speak at all to coloring as I read the Kindle edition in black & white (Not that I’d have anything interesting to say on the subject.)

I’d recommend this comic. There’s plenty of butt-kicking, but there’s also a thought-provoking tale of political intrigue.

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BOOK REVIEW: Captain America: Civil War by Ed Brubaker

Civil War: Captain AmericaCivil War: Captain America by Ed Brubaker
My rating: 3 of 5 stars

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Captain America has gone rogue. In the wake of the passing of a law that requires heroes to be registered and regulated, Steve Rogers (a.k.a. Captain America) leads a resistance movement. The arc conveyed in this four-book collection tells a story of the resistance at once battling S.H.E.I.L.D. Cape-Killers on the one hand and a HYDRA plot on the other. It should be noted that it’s at least as much a Winter Soldier collection as a Captain America one. In fact, the third book in the collection is the only one in which Steve Rogers / Captain America can be said to be the lead.

The books included are: “Captain America #22 [Civil War / The Drums of War, pt. 1],” “Captain America #23 [Civil War / The Drums of War, pt. 2],” “Captain America #24 [Civil War / The Drums of War, pt. 3],” and “Winter Soldier #1: Winter Kills.”

The first issue features Sharon Carter meeting with a S.H.E.I.L.D. psychiatrist, or so she thinks. Carter is the agency’s liaison with Captain America, and has developed a close relationship with him. While S.H.E.I.L.D. is trying to get her to exploit the relationship to bring in the Captain, others are manipulating Carter for their own nefarious purposes.

In the next issue, Bucky Barnes (i.e. the Winter Soldier) breaks into a secret facility at the behest of a disembodied Nick Fury in order tap into a fake robotic Nick Fury. Next, Winter Soldier takes on a group of “Cape Killers” (i.e. agents of the government working to bring down Captain America’s resistance forces using Tony Stark technology) in order to capture some of their technology.

In the third issue, Captain America breaks into a HYDRA facility on a mission that goes bad. When he’s discovered by Cape Killers, he’s “rescued” by Sharon Carter. During his infiltration, he learns something that will help him in his mission to defeat the Red Skull, if only he can succeed before the Red Skull destroys him.

In the final issue, the Winter Soldier is sent by a disembodied Nick Fury to interrupt a group of Young Avengers who think they are about to attack one of Tony Stark’s facilities when, in fact, it’s a HYDRA base. After a brief skirmish, the Winter Soldier succeeds in talking these young heroes out of their mission, only to be discovered. As a result, Bucky and his new group of young comrades are forced to take down the facility. The setting of the story on Christmas Eve, with flash backs to Christmas Eve 1944, are used to make the story more poignant.

As a collection, I didn’t care for this book. It didn’t provide a satisfying narrative arc. Though I’d say the individual issues were worth reading, and if the collection went a little further, it’d have something. But nothing is resolved at the end, and the jumping between Captain America and the Winter Soldier stories doesn’t provide the makings of character development. It’s a series of missions with varying objectives. The collection does offer quite a bit of action, much more than the “Iron Man: Civil War” collection that I recently reviewed. However, it doesn’t provide nearly as much of a story as that book, and is not as artfully grouped as the Iron Man collection. In summary, the tone setting and action are good, but it’s a collection of action that doesn’t go anywhere.

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BOOK REVIEW: Iron Man: Civil War by Brian Michael Bendis et. al.

Civil War: Iron ManCivil War: Iron Man by Brian Michael Bendis
My rating: 4 of 5 stars

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With the “Captain America: Civil War” movie set to come out this year, one would have to be living under a rock to be unfamiliar with the basic premise of the Civil War story line. (Not that the movie will—or even can—follow the comic books exactly. But the gist is the same.” The government passes a Registration Act that would require superheroes to be registered, regulated, and trained. This splits the Marvel universe of heroes into two battling factions. (In the movies, it’s just the Avengers, but the comics include members of the Fantastic Four, X-men, etc.) One side, led by Tony Stark—a.k.a. Iron Man, supports the Registration Act. The other side, led by Steve Rogers—a.k.a. Captain America, staunchly opposes the new law. The four issues collected here offer insight into the mind of Tony Stark.

The four issues in this collection are: “Civil War: The Confession #1,” “Iron Man #13,” “Iron Man #14,” and “Iron Man / Captain America: Casualties of War #1.” Putting the issues in this order contributes to the somber tone of the storyline, as the chronological end of the events is put up front in the form of Stark’s confession. The start is a little like the very beginning of “Saving Private Ryan” (before the battle scene begins.) As with “Saving Private Ryan,” this opening does little to detract from the story and in fact builds immediate intrigue.

This isn’t the most action packed collection, but it is an emotional story line. Tony Stark is serious, somber, and sober (in both senses of the word.) This isn’t the cocky, witty playboy philanthropist one associates with Iron Man. It’s a man whose convictions are forcing him to fight his friends and comrades in arms. The irony of the situation is that Stark is certain the Registration Act is necessary because of people like him. In other words, if everybody was like his friend-turned-enemy Steve Rogers (i.e. a pinnacle of virtue) then the Act would be unnecessary.

There is some awkward expositional dialogue / monologuing in this book—a common problem among serial comic books. However, overall the story is engaging. If you want battle scenes, you may be disappointed, but this book makes one sympathize with Stark—even if you’ve previously thought him an arrogant douche.

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READING REPORT: May 1, 2015

Becomingbatman

Most of my reading time this week was divided between two books, one of which was also a new purchase. The newly purchased book that I spent a lot of time with is E. Paul Zehr’s Becoming Batman. This book isn’t at all what one might expect from the title or the cover. If one were to notice that it’s put out by Johns Hopkins University Press, one might realize that it’s not a fanboy fantasy work. What it is is a book about the science of exercise and conditioning for athletes that uses “Batman” as a pedagogic tool to make more digestible scientific information like how our muscles grow or how we make our movement more efficient through practice. It’s a fascinating book if you are interested in science and martial arts (or movement arts more generally.)

 

Wired for StoryThe other book I’ve been tearing through is Wired for Story, which I wrote about last week. It’s a book that explains how human brains are wired to be intrigued by story, and how writers can put this information to good use.

 

Meeting the Dog Girls

The one book that I finished this week is Gay Terry’s Meeting the Dog Girls. This is a collection of short stories (some of which might be classified as flash fiction) that could be called tales of the weird or supernatural fiction. Most of the stories have a quirky sense of humor.

 

ZebrasUlcers_Sapolsky

I bought two other books this week, both of which have been on my reading list for a while. The first is Why Zebras Don’t Get Ulcers, by Robert Sapolsky.  As the title suggests, this book is about why humans are unique within the animal kingdom with respect to stress-induced illnesses. Stress reduction and mitigation have been an important question of inquiry for me as of late.

 

afterdark_murakami

The other book is Haruki Murakami’s After Dark. This will be the third or fourth book by Murakami I’ve read, and I enjoy his style. Ironically, this was the first book by Murakami that I noticed in the bookstore, but I never got around to reading it.

MOVIE REVIEW: Avengers: Age of Ultron

Avengers-Age-of-UltronAvengers: Age of Ultron opened across India today, April 24, 2015. This film is set sometime after the events of the second films in the Captain America and Thor solo “trilogies.” We know this because Thor is on Earth and the Falcon (in a cameo) makes an offhand comment indicating that he’s spending time looking for Bucky Barnes / Winter Soldier. Furthermore, we know it because the opening scene is the Avengers working as a team to take down Baron Von Strucker’s fortress (re: Captain America 2 end-credit scene) in a fight to obtain Loki’s scepter. This scene suggests that the team has been working together for a while in taking down Hydra bases of operation globally. (Many have jokingly inquired why Steve Rogers (Cap) wouldn’t have called in his avenging friends during the events of the Winter Soldier film.  This film reinforces, rather than solves, that riddle.) At any rate, that opening scene contains an awesome action sequence.

The core premise of the film will not come as a surprise to anyone who has seen the trailers for this film–not to mention the previous Marvel Cinematic Universe (MCU) films and post-credit scenes. Tony Stark (Iron Man) tries to “create a suit of armor around the world” and the program–dubbed Project “Ultron”–goes terribly awry.  After Ultron comes into existence, he quickly moves to co-opt the Maximoff twins (better known as The Scarlet Witch and Quicksilver.) Because the twins have an axe to grind with Tony Stark, they willingly side with Ultron. The Scarlet Witch is instrumental in Ultron’s plan. If you haven’t seen the trailers don’t finish this sentence, but for others it will be apparent that the Scarlet Witch’s mind control is used to pit some Avengers against either themselves or others.

The tone of this film is different from the first Avengers movie. In the first film much of the tension springs from unfavorable first impressions and standoffishness. Now the characters know each other and love-hate relationships are rife–some more loving and some more loathing than others. This may make it easier to relate to what’s going on between the major characters. The strained relationships inside the team remain an important factor, and are crucial to the films going forward–most notably Captain America 3: Civil War.)

While the trailers may have led one to believe this would be a big film for Natasha Romanov (aka Black Widow) given the flashback scenes, it’s actually Clint Barton (aka Hawkeye) who has a more pivotal and revealing role in this film. (Perhaps to the chagrin of the many who wonder why he’s even on the team.) However, the evolving relationship between Romanov and Bruce Banner gets a fair amount of screen time–though the need to pack a lot into the film given the huge cast makes this drama feel a bit thin. The twins and their tormented past are also critical to the tone of the film. They hold an event from the past against Stark, but they are ethical people at their core.

The Vision is the character that has been held closest to the vest by Marvel. I won’t say much about Vision to avoid spoiling anything other than that it’s an intriguing character. I was worried that either the way this character was created or the effect he had on the story would be a disappointment, but it wasn’t.

I think James Spader did an excellent job of playing Ultron–a character that vacillates between being childlike and being a grim psychopath. (One may not get the childlike part from the trailers, but this is a brand new intelligent entity, and so it’s clever to show that.)

Like the first Avengers movie, this one has its bit of deus ex machina (bolt from the blue solutions to once insolvable problems), but it’s not the perfection of story that makes these movies engrossing. (I didn’t find it as deus ex machina as the first film–though there is at least one moment that springs to mind.)

What sells these films is: a.) the witty dialogue;  b.) the stunning visuals of the action sequences; and c.) the tension between characters both friend and foe. (Probably not in the aforementioned order.) On those three items this film doesn’t disappoint.

I won’t even bother to recommend you see it, as I’m sure–like everybody else on the planet–you will.

BOOK REVIEW: Batman: Arkham Asylum by Grant Morrison

Batman: Arkham Asylum - A Serious House on Serious EarthBatman: Arkham Asylum – A Serious House on Serious Earth by Grant Morrison

My rating: 4 of 5 stars

Amazon page

This is the third, and probably last, installment in my “Happy 75th Anniversary, Batman” series of reviews. Batman: Arkham Asylum is an attempt to convey a nightmare on the page, and it succeeds both graphically and narratively. It’s quite different from other Batman comics in style and content. It takes the dark nature of the Dark Knight’s mythology to the extreme.

There are two story-lines woven together in Batman: Arkham Asylum. The main line involves Batman entering an Arkham Asylum being run by the inmates. There he finds himself pitted against his foes: the Joker, Two-Face, Scarecrow, and others. The other is the 19th century tale of Amadeus Arkham’s descent into madness.

As is common in the Batman mythology, psychiatrists are portrayed as walking the razor’s edge between sanity and insanity. For those who don’t read comic books, this is most readily exemplified by the character of Dr. Crane / Scarecrow in the first film of the Nolan trilogy, Batman Begins. I’m not sure whether the point is to create enemies that are so strong they can bend doctors to their will, or if there is a general disdain for psychiatrists—as one might see a dislike of lawyers in other stories.

Among the nightmarish elements of this work is the fact that Batman’s face is never seen clearly. The Dark Knight is always a vaguely and/or surrealistically silhouetted. There’s a mix of sharpness and haziness in the graphics. The Joker gets his own crazy scrawl font. The graphics are as creepy and strange as can be. On my low-end Kindle, the work was in black and white, which worked well. I did look at the sample pages, and the color version uses a lot of sepia and crimson.

Batman: Arkham Asylum asks us to consider whether Bruce Wayne / Batman is sane or just a lunatic with a moral code.

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BOOK REVIEW: Batman: The Dark Knight Returns by Frank Miller

Batman: The Dark Knight ReturnsBatman: The Dark Knight Returns by Frank Miller

My rating: 4 of 5 stars

Amazon page

A couple of reviews ago, I covered Frank Miller’s Batman: Year One, which imagined the first year of the Dark Knight’s venture into crime fighting. The Dark Knight Returns is Miller’s take on the other end of the Caped Crusader’s career. It begins ten years after the last sighting of the Batman. Commissioner Gordon is on the verge of retirement, and there’s a mix of new and old threats rising.

There are four parts to this work. The first, also entitled The Dark Knight Returns shows the rise of a powerful gang of thugs called “The Mutants.” The way this gang’s leader is drawn makes him look like he truly is an altogether different species, but it’s his filed teeth and his bulky physique that account for his appearance. The main battle is with the “rehabilitated” Harvey Dent (a.k.a. “Two-Face,” an inappropriate moniker as his face has been fixed and his flighty psychiatrist ensures the community that Dent’s mind is fixed as well.) We see Bruce Wayne’s concern about the deteriorating state of Gotham and his eventual return to crime fighting, which is instigated by a freakish bat flying through his [closed] window. Wayne takes the bat as a sign from the universe that the Batman is indeed needed. Dent engages in a terroristic plot which the Dark Knight must try to foil.

As was the case in Batman: Year One, the story of Commissioner Gordon plays out in parallel with that of Bruce Wayne / Batman. However, in the third book, Gordon has retired and it’s the new Commissioner, Ellen Yendel, who shares the spotlight. Yendel, unlike Gordon, promptly issues an arrest warrant for Batman.

Book Two is called, The Dark Knight Triumphant, and it’s in this episode that Batman comes up against the leader of the Mutants. As in Batman: Year One, Batman arrives to the fight as an underdog. However, as would be expected, the nature of his underdog status is completely different. In Year One, Batman is a supreme physical specimen, but is green to crime fighting. In The Dark Knight Returns we see a battle-hardened veteran Batman who is a spry geriatric, not up to fighting young, mutant thugs. However, as with the former comic, the Dark Knight does redeem himself. Many of the Mutants, being fair-weather friends to their leader, form a cult of Batman in the wake of the Dark Knight’s victory over their former boss.

Besides broadening the readership demographic to retirement community dwellers, another new demographic is appealed to with Carrie Kelley, the new Robin. There are references early in the book to the profound effect that the death of Jason Todd had on Bruce Wayne. Be that as it may, Batman seems quick to bring this young girl into harm’s way given the lingering wound of Jason Todd.

Book Three, Hunt the Dark Knight, pits Batman against his ultimate nemesis, the Joker—who like Dent—has been sprung in no small part due to his lunatic psychiatrist. Miller continues the popular Batman comic disdain for psychiatrists, who are portrayed as a small nudge away from becoming bat-shit crazy (pun intended.) While the battle against the Joker provides this chapter’s crime fight, Commissioner Yendel’s war on Batman is a major part of the storyline. We also discover that time has not been as kind to Selina Kyle as it was to the men of this series. (i.e. Gordon is old but distinguished, and Batman has pretty much the same preternatural physique that he did as the young batman.)

The Dark Knight Falls is the last section, and it’s the most famous for the battle between Batman and Superman. Earlier in the book there’s a foreshadowing call from Clark Kent to let Batman know that the Superman will be out-of-town for a while. Appropriate to the 1986 issue date of this comic, a Cold War crisis is the event consuming Superman’s time. These Cold War tensions result in a nuclear missile launch that Superman diverts, but the Man of Steel hasn’t read up on the Electro-Magnetic Pulse (EMP) effect. [Incidentally, Miller didn’t read up on the use of nuclear weapons as an EMP either, or—at least—he gets it completely wrong. Perhaps, he just figured that his readers wouldn’t know the difference–and he’s probably right. At any rate, I’m not deducting stars for bad science.] The power outage caused by the EMP results in looting and societal chaos. Batman quells this with the help of the cult of Batman mentioned previously. However, this doesn’t go over smoothly with some, which results in Superman’s invasion of Batman’s Gotham turf, and the ultimate battle.

I enjoyed this work more than Batman: Year One in part owing to the serious enemies that the Dark Knight must vanquish. I’d agree with the common view that this is a must-read for those interested in the canon of the Caped Crusader.

Also, if you aren’t a comics fan but are wondering how Batman and Superman could end up fighting–as per the upcoming Batman v Superman: Dawn of Justice movie–this might give you some insight. [Though I wouldn’t expect that movie to follow this work in any of the vaguest ways.] Also, there are other Caped Crusader versus Man of Steel interpretations out there, though this is probably the most famous.

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2014 Superhero Movies

Here’s an overview of the upcoming year’s superhero movies.

 



I, FRANKENSTEIN; January 24th

Frankenstein’s monster may not the usual superhero, but it’s based on a graphic novel and the demon-battling premise seems heroic enough.



ROBOCOP; February 12th

This is also one you might not think of this as a superhero movie, I include it because there was a Marvel comic based on the movie and if Iron Man is a superhero…



CAPTAIN AMERICA: THE WINTER SOLDIER; April 4th

The second Captain America installment and the third of the five Marvel Phase II films. After taking on some high level conspiracies, Captain America finds himself battling his old sidekick’s villainous alter ego, i.e. The Winter Soldier.



AMAZING SPIDERMAN 2; May 2nd

The sequel finds Spiderman facing Electro and–to a lesser degree–Rhino.



X-MEN: DAYS OF FUTURE PAST; May 23rd

As the confusing title implies, this is a time travel story in which events in the past must be changed to avert a grim future. Wolverine is sent back to affect this change.



TRANSFORMERS 4: AGE OF EXTINCTION; June 27th
220px-Transformers4_Teaser_Poster
OK, this is more a toy movie than a superhero movie, but cars that turn into robots seem super in my book. That’s not to say there isn’t a better than average chance the movie will stink.



GUARDIANS OF THE GALAXY; August 1st
220px-Guardians_of_the_Galaxy_logo
It’s still early. There’s no trailer out as of this posting.



TEENAGE MUTANT NINJA TURTLES; August 8th
No trailer or images out, and little is known except this is about as ridiculous a premise for a movie as is imaginable.



BIG HERO 6; November 7th
Big_Hero_6_logo
This is an animated Marvel project. A robotics prodigy and his creation team up with amateur crime-fighters to put an end to a nefarious plot.

BOOK REVIEW: Inventing Iron Man by E. Paul Zehr

Inventing Iron Man: The Possibility of a Human MachineInventing Iron Man: The Possibility of a Human Machine by E. Paul Zehr

My rating: 4 of 5 stars

Amazon page

As the title suggests, this book examines whether Iron Man could exist in the real world. As with Michio Kaku’s book Physics of the Impossible, answering the question involves defining the various meanings of “impossible.”

One way to parse the question is, “Is Iron Man possible today given the existing state of technology?” In and of itself, this question is of limited interest because the answer is, “no.” There’s certainly a demand, and so if Iron Man could exist given current technology, he probably would. That’s not to say it isn’t interesting to learn about what technologies are holding us back and where the cutting edge of relevant technologies lies—both of which are addressed by the book.

Still, a more interesting inquiry is, “Will Iron Man ever be reality given the physical laws that we know to govern the universe?” While more intriguing, it’s also a harder question to definitively answer. It’s impossible to foresee all the technological developments that might come along to answer the seemingly insurmountable challenges (e.g. Tony Stark’s inevitable Traumatic Brain Injury (TBI).) The book deals with the critical question of what challenges would have to be overcome for Iron Man to be reality.

As Zehr suggests, the appeal of Iron Man is that he’s considered to be among superheroes for the common man. Like Batman, the sufficiently bright and diligent nerd may fantasize that, “That could be me.” You or I can’t be Superman or Wolverine, but given enough money, smarts, and training we could be Batman, or—even better—pilot the Iron Man suit. Put in this light, the book may seem like just another frivolous attempt to capitalize on the popularity of superheroes to sell books. However, there’s actually a great deal of food for thought packed in the book. Like others, I read the book because its title is Inventing Iron Man and not Neuro-motor control of a self-propelled armor system or some other suitably scholarly title.

Dr. Zehr has the bona fides to delve into this topic. He is a Professor who investigates questions of how the nervous system controls movement. That subject may not constitute the sum total of critical concerns, but it’s one of the most important challenges. For Iron Man to move the way he does in the movies and comic books, Tony Stark’s impulses to move have to be transmitted seamlessly to the servo-motors that move the suit. From dodging Col. Rhodes’ (i.e. War Machine’s) punches to ducking RPGs, Stark can’t be quick enough if he has to manually steer the device. Then, of course, there’s the issue of feedback. Any neophyte meditator who’s had his or her foot fall sound asleep will know how difficult it is to walk surefootedly when one can’t feel anything through one’s foot.

[Iron Man 3 spoiler commentary in this paragraph.] One of the most damning challenges for making Iron Man a reality is the high probability of severe concussions. Let’s say you make the suit out of a material that is virtually indestructible? This may be possible. However, the pilot’s mushy brain is still sloshing around inside that impenetrable armor. One can remotely pilot the suit in order to negate this (as has been done in the comic books and the third movie), but—at that point—is it still Iron Man? I know from a writer’s perspective it’s a lot harder to maintain tension if there’s nothing human on the line. In the third movie about 30 autonomously piloted suits get wiped out and the viewer doesn’t care—the only source of tension is that Tony Stark is without armor half the time.

Some of the most interesting discussions are about where the current state of the art lies with respect to: a.) direct mind control over mechanical systems; b.) a “flying suit”; and c.) robotic movement enhancers. Zehr conducts interviews with those engineers and technologists involved in such technologies, and finds out where we are presently. Letter “a” above seems to be the least developed of the three technologies, but they are all active lines of research.

I enjoyed this book and found it interesting. I think anyone who is interested in the state of technology and its limits will find it a nice pop-sci introduction to the subject. The use of superheroes as a pedagogic device may be overdone, but it continues to work because we are fascinated by the edge of possibility, and that’s what superheroes represent.

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