As a genre, Iron Man finds a space between fantasy and realism — and this owes much to the hero’s complexity, says Nithin D Koshy
What do filmmakers Richard Donner, Tim Burton, Joel Schumacher, Christopher Nolan and Bryan Singer have in common? Their innovations with Superman (1978), Bazman (1989), Batman Forever (1995), Batman Begins (2005) and X-Men (2000), respectively, led major studios like Warner Brothers and Twentieth Century-Fox to give them a second outing for more box office returns.
However, not all such motion picture franchises are successful. Singer, Donner and Nolan may have received appreciation for X2 (2003), Superman II: The Richard Donner Cut (2006) and The Dark Knight (2008), respectively, but Burton’s Batman Returns (1992) has received polarised reviews. Batman & Robin (1997) entered the memorably forgettable chapters of film history. Still, that does not stop these studios from investing in further super-hero ventures.
Paramount Pictures is not far behind either. Jon Favreau, credited with the highly-acclaimed Iron Man (2008), is working on the second part slated to be released in 2010. This, in turn, is connected to other films based on Marvel Comics characters like the Hulk and the Avengers. The use of cross-references (like a cameo of Iron Man in The Incredible Hulk) is loudly indicative of the interests of mainstream studios to attempt at such productions.
Reverting to the matter of Iron Man, one may draw comparisons between Tony Stark and his DC Comics counterpart Bruce Wayne (Batman). Essentially, the difference between the two business tycoons is in the motivation. As a boy, Wayne saw his parents gunned down in an alley, and that alone drove him into the crime-fighting frenzy. On the other hand, Stark is on a repentance spree ridding the world of weapons that his company manufactured .
In Iron-Man Super Special 01’s “Tin Man”, his origins are explored once again, but with a parallel to another crisis he has to face way into his career as the armoured super-hero. The second story “Jane Doe” is about the murder of a prostitute on the way to complete rehabilitation. Shown as a typical Christian hero, Iron Man becomes a crusader to hunt down the killer. “Tin Man”, “Book of the Ten Rings” and “Out of the Bottle” is a loose trilogy going on a redemptive note garnished with a little vengeance.
Mike Grell and Michael Ryan collaborated on the story and artwork, supported by Avalon Studios Colorists Edgar Tadeo (“Jane Doe”), Andy Troy (“Book of the Ten Rings”) and Arsia Rozegar (“Jane Doe” part 2, “Book of the Ten Rings Chapter Two” and “Out of the Bottle”). All of them have adhered to the norms of corporate art, but it would do them well to churn out a colour system differentiating each one from the other. Readers must look out for something significant in the Iron Man storyline that has even had a mention in leading web-based encyclopaedias.
As for the way Gotham Comics clubbed these stories together, only “Jane Doe” seems out of place. Yet it does serve as a good break to give the readers a surprise when they go from the first story to the third. At the same time, it can easily dilute the intensity of the other two plots.
The subject of speculation would be what Iron Man represents. In the given graphic presentation, he is trying to protect the women of his life, be it Ayisha, Abby St. Clair, Shelly and Pepper. After all, the woman is the centre of a family as a constant nurturer in various forms. This gives rise to families that become a subset of population, thus ensuring the survival of the species. People hold debates on Corporate Social Responsibility and others write papers and dissertations to prove a point. Since Tony Stark is a businessman, entrepreneurs can also learn a thing or two about sustainability.
Looking at the bigger picture of Iron Man’s creation in the early ’60s, the Cold War was one of the initial themes highlighting capitalism’s battle against communism. Espionage, over the decades, slowly shifted from political to corporate situations. The War on Terror is possibly the latest area of creative critiques. Merging science-fiction with super-hero subject matter makes Iron Man part of a hybrid genre. Though it may not have attained the status of a Superman or a Batman, it has found a spot in between fantasy and realism. Is Iron Man a capitalist or a socialist? In the wake of the elections, it would be a good idea to delve into the philosophies governing this complex champion of the marginalised.
Nithin D Koshy blogs at
www.atlasreborn.blogspot.com