Plus Ultra or Up Up & Away

Welcome Back to Another Edition of Comic Relief! Where we talk about all the goings on in the world of Nerd!

Stories of heroes have been a driving force in civilization since the beginning of time: Epic of Gilgamesh, The Iliad, The Odyssey, Beowulf, all are legends that have stood the test of time because of how they represented and inspired their respective cultures. In modern times the comic book super hero has taken the place of it's mythological predecessors, and in the world of comics, none stand as iconic as Superman. However, with anime on the rise of popularity in the west, it's no surprise that eventually Japan would take a swing at the super hero genre. My Hero Academia is just that, and while the show may be about a young hero struggling his way to the top, there is a character that stands above everyone as the show's symbol of Peace and Justice. All Might is the number 1 hero, and watching him is like watching a tribute to some of the golden age of comics greatest heroes. Most notably, there are a lot of comparisons between All Might and Superman.

This post is in response to a claim made by ComicBook.com, in an article titled 7 Ways All Might is Better than Superman. To be frank, this article is garbage. Most of the points made in here are hollow and hardly are enough to even begin a solid argument as it shows a massive lack of understanding of Superman. That being said, I do believe that All Might is a better character than Superman, and while I don't think it's particularly fair to make that assessment, I will be talking about why exactly this is the case.

First of all, there is no point in trying to compare these two's motivations. They want the exact same thing, to provide people with a symbol of hope to believe in. This is actively what makes the audience notice the similarities of these two. So, lets talk origin. Ultimately what this boils down to is the fact that ultimately Superman has always had his powers. While there are arcs where Superman loses his abilities, it is not the same as growing up weak by society's standards and attaining the power out of a desire to help. To quote Abraham Erskine from Captain America: The First Avenger:

Because the strong man who has known power all of his life, may lose respect for that power, but a weak man knows the value of strength, and knows... compassion. 

All Might was a quirkless (powerless) kid who just wanted to give people a pillar to hold them up so the can live a life of peace and always smile. While the story of Superman, a god (essentially) raised that would rather be man than a god is certainly a great story, most people identify with the underdog story a lot more.

Second on the table is powers. While Superman has not always been this way, one of his major faults in the eyes of the public is being overpowered. There was a time where Superman could literally have every power under the sun to a ridiculous extent. While at present he has a more streamlined power set, that stream lined set is still obscene. Granted that's kind of the point as DC comics are supposed to be a modern mythology, however, it makes writing him rather difficult as putting him up against physical challenges seems a bit anticlimactic. While All Might is extremely powerful, he is nowhere near the same level as Superman and his some pretty big weaknesses. This isn't what makes All Might's power tree "better" though.

Something that comes up with both characters are that they hold back from going 100 percent very frequently, mainly to keep destruction to a minimum and ensure there aren't civilian casualties from using their abilities. However, what I personally enjoy more about how they do this with All Might is that they show the devastation that can be caused by a single punch very well. One punch with all of Allmight's power builds enough air pressure to level a block. While undoubtably Superman can do the same thing, he has so much control over everything that it's very seldom that we get to actually feel that. It gets annoying sometimes too, as he'll very frequently get beat down by a new villain initially, and then come back a few pages later and practically one shot the villain. It's always explained with: "I was holding back," however, there was no consequence to him going all out. All Might you see and feel those consequences.

At the end of the day, I love both of these characters. Superman is in my top 3 favorite DC superheroes, and All Might is my favorite character in My Hero Academia and is easily in my top 10 heroes of all anime. I honestly don't believe it's fair to compare these two, and the big reason is that All Might is actively an amalgamation of the best traits of some of the greatest heroes of the Golden Age. His motivations, spirit, and symbolism come from Superman. His odd American patritiotism (all of his attacks are named after the states and cities) and origins of being weak before obtaining great strengh to help are pulled from Captain America, and his shape shifting from a weak form to a buff one is pulled from Captain Marvel (Shazam). There are probably even more similarities to other iconic heroes, the point remains All Might is a combination of some of these characters' BEST traits. It's not fair to say he's a better character than Superman, because that's actively the point. He's THE number 1 hero. He embodies the best traits of the best characters in comics and I don't think it's meant to be an excercide of oneupmanship so much as a tip of the hat to the greats.  All Might is a better character than Superman because he IS Superman, but at the same time he is more.

I hope you have enjoyed this edition of Comic Relief! We'll see you guys next time!

The Crow Remake Plummets as it Loses Yet Another Director and Star

Welcome back to another edition of Comic Relief! where we talk about all the goings on in the World of Nerd!

In the genre of cult classics there are quite a few names that stand out from the 90s era of film, however, none come close to the legendary adaptation of James O'barr's acclaimed comic: The Crow. The film found a similar stigma as Christopher Nolan's The Dark Knight due to the death of its star, Brandon Lee (28 year old son of martial arts legend Bruce Lee) on set due to an accident involving a prop revolver. Despite the tragedy of his death, Brandon's performance in The Crow was his most defining one as he brought such intensity and charm to the character of Eric Draven. Since it's release, there have been several sequels (all of which have failed utterly) that have tried to carry on the legacy of what Brandon Lee established so long ago. Most recently however, a reboot of that cult classic has been in production limbo, and yesterday it took a crippling blow when both their second director and star of the film walked from the project.



While, to many fans, this is being hailed as cherished news, as the announcement of a reboot of The Crow has been met with some very mixed feedback, it is honestly a shame that we are getting to miss out on this project. Not only was the actor who departed the role of Eric Draven none other than the great Jason Momoa (who took to social media announcing his departure by revealing some stunning concept art as him in the iconic Crow make up with him hiding in the back corner done up in it as well), but most importantly the screenplay was going to be done, in a great deal, by Jame O'barr himself which means that sadly we have missed out on an opportunity to see a closer vision to his actual vision (this is not to say that the Brandon Lee film butchered source material, so much as that it took some artistic liberties with O'barr's narrative that I would like to see corrected). This is the second time both a director AND a star have walked from this project (the first star being Luke Evans from the recent Dracula Untold), so even though there has been no announcement regarding a full on cancellation here, it's safe to say that best case scenario, it's not happening ANYTIME soon. For those interested and unfamiliar with The Crow, I have included a personal synopsis below:

It's true what they say you know, Love never dies. Shelly Webster and her rock and roll fiance, Eric Draven, were just a young couple madly in love, struggling to make their way in the world. To make matters worse they were living in the absolute wrong neighborhood. Devils Night, a holiday for the low life scum to raise hell across the city, erupts as a group of thugs break into their apartment, rape Shelly, and murder both her and her fiance. A year has passed since the horrific deed, but the suffering they endured has allowed for Eric Draven to come back from the dead. You see there was an ancient belief that the Crow carries the spirits of the dead to the afterlife, but in some special cases, if their death was bad enough, the spirit would be given a second chance in life to come back and exact revenge and gain closure in the land of the living before returning to rest. Bound to this world of the living by the Crow, Draven does just this and hunts down all those responsible for his murder and the murder of his beloved. 

You can check out either James O'barr's beautiful book or Brandon Lee's defining film, either way you can't go wrong. Unfortunately, it appears that you won't be able to see a new adaptation of it here in the near future.

This has been another edition of Comic Relief! I hope you have enjoyed and we will see you again soon! 

Despite A Little Promise Venom Will Still Suck

Welcome Back to another edition of Comic Relief! where we talk about all the goings on in the world of nerd!

One of the most hotly anticipated comic book films to be released this year is the Sony helmed, Marvel film: Venom. With a promising cast and a passable trailer, people are anywhere between cautiously optimistic or hyped for the film which releases in October. However, I have some terrible news, and that is that Venom is probably going to suck.

It's certainly a hard pull to swallow for most people, I have been in numerous discussions about this very topic, and have been labelled a "hater." Well, if having a high standard and expectation for my favorite villain/ anti hero growing up makes me a "hater," than so be it. It still doesn't change the facts, and the facts are that this movie will suck because Sony doesn't understand Venom as a character, and in turn cannot hope to make a successful movie about him.

It must first be stated that this is not Sony's first time at bat with this character. Sam Raimi's third installment of the original Spider-Man trilogy we got to see the character on the silver screen for the first time. However, Spider-Man 3 bombed and one of the chief complaints of the film is the very weak portrayal of Venom in the film. This movie coming out may be the second time Venom makes it to the big screen, but it's technically Sony's third time going at the character. People seem to forget, but Sony had been setting up Venom for the Amazing Spider-Man films, in particular the Flash Thompson, Agent Venom. Luckily, Amazing Spider-Man as a franchise collapsed before it could get to Venom because it just didn't pay the dividends. Now Sony is up at the bat for a third time and right from the start there is trouble. Spider-Man has absolutely no part in this film. The Venom solo movie has no connection to Spider-Man whatsoever and that is a massive problem.

The story of Venom is intertwined with Spider-Man, without that dynamic you lose what makes this character special. Before I go further into this, it's very important to establish how Venom came to be, and this story starts with Spider-Man. While on an intergalactic adventure detailed in the massive crossover event called Secret Wars, Peter becomes bonded to a living organism called a symbiote that manifests as a black and white spider-man costume and is even able to imitate civilian outfits. In addition this suit gave Peter a bit of a boost in his abilities. He was stronger, faster, and could even spin webs on his own without the use of web cartridges. However, when Peter realizes that his aggression has been increased as well, he goes to long time friends the Fantastic Four and Reed Exposes the suit as a living being trying to permanently bond to Peter and take control. Using sonar tech they remove the symbiote from Peter. The symbiote was not pleased being rejected by its host and so it escaped and found a new one.

This is where Eddie Brock comes to play. Eddie is a failed reporter that blames his failures on Spider-Man. Upon losing his job at the Globe, Eddie took up weight lifting to cope, but it didn't help. Eventually he is found by the symbiote, and with Eddie oozing with negative energy, the symbiote chooses him as the new host. The Symbiote reveals Spider-Man to be Peter Parker, and together they will destroy Parker in revenge from what he took from them. Together they are Venom.

The story of Spider-Man and Venom is intimate. Without Spider-Man, Venom CANNOT exist. Even the design of Venom is dependent upon the symbiote's initial bond with Spider-Man. If this is not a part of the story, then you lose the significance of his design. Venom is this warped perversion of Spider-Man, he's everything Spidey isn't: vile, disgusting, brutal, and filled with rage. Without the connection to Spider-Man what reason does the suit have to look the way it does? And it doesn't matter what bullshit the story of this film tries to push to explain this, it will be hollow and will lack the weight that everything down to the design of this character has. Based off of what is shown in the trailer, it's very clear that they are taking away the character's connection to the web head.

All things being said, I'm not omniscient. Venom could be the representation comic fans have been hoping for. If it is, that's great. I would LOVE  for this movie to prove me wrong, this film has a great cast and if they can pull off the film I'll be very happy. However, based off what I have read and seen during this nightmare of a production, from a lack of Spider-Man to Sony's HORRIFIC advertising campaign of the film, there's not a lot of hope to be had for this film.

This has been another edition of Comic Relief! I hope you've enjoyed and we will see you next time!

White Knight: A Batman Story of A Generation

Welcome Back to another edition of Comic Relief! where we talk about all the things going on in the world of nerd!

"Iconic" is defined as: widely known and acknowledged for it's excellence. In the realm of comic books it is a rare thing for a character to have an arc that can reach this outstanding hallmark. However, if there were a property or a character that proved to be an exception to this rule, it would have to be none other than Batman, the Dark Knight of Gotham City. Generation to generation, the legacy of this character has been passed proudly down from creative team to creative team. Each time the torch is passed we see the character's reinvention.

Dark Knight Returns, Long Halloween, Court of Owls, these are just a few stories of the Bat that have established themselves as iconic Batman stories. Well this year, a story was released over an 8 issue limited series that climbed new heights and attained the mantle of iconic. Sean Murphy's Batman: White Knight is a story set in Bruce Timm's beloved animated universe, and in a way it truly serves as a new final chapter in the story of Batman.

Like so many stories before, the heart of this is a struggle between Batman and the Joker, except that Sean Murphy flips the dynamic on it's head. In this story, the titular "White Knight," is none other than Jack Napier, the man that was before the Joker. Without sufficient evidence to convict Napier, Jack turns his efforts to saving the city he once terrorized. Jack Napier is going to save Gotham, and he's going to do it by saving it from Batman. Establishing himself as a modern day citizen Kane, Jack becomes a social advocate against Batman. Jack uses a soapbox platform to bring to light the wanton destruction that is a result of Batman's reckless methods, and exposes how the Gotham elite have been profiteering off of the constant destruction Batman causes to the slums while chasing down his rogues. Jack finds his greatest ally in his reformed partner in crime from the Joker days, Harlene Quinzel. Together they turn the public opinion against Batman. However, Batman will not take these losses lying down, and while Gotham's knights war with one another, a new evil comes to surface in the background of Jack Napier's making.

From the first panel in it's debut issue, to the last of the finale, this story is a page turner that maintains it's high quality throughout. The stellar writing is only enhanced by the artwork which is also done by Sean Murphy who clearly takes a lot of the spirit of Bruce Timm's Animated Gotham, while simultaneously adding a bit of his own personal flare. Harder lines and even with color, there is a major contrast between light and dark.

I would personally give Batman: White Knight a 9.5 out of 10. All 8 issues have been released and soon the trade paper should be en route. There is even rumor that Sean Murphy is going to release a director's cut that will include parts of the story that were too graphic to be included upon initial release, so keep an eye out and give this story a read!

This has been another edition of Comic Relief! I hope you have enjoyed and we will see you next time!

Tribute to Margot Kidder: Remembering Lois Lane

Welcome Back to another edition of Comic Relief! where we talk about all that's going on in the world of nerd!

In the world of comic books, few names hold as much sway as Superman. He started it all in Action Comics all those years ago. Well in the past day the world of Superman took a huge loss as Margot Kidder, the iconic Lois Lane from the Christopher Reeves Superman films from the 70's, passed away. Kidder was 69 years old, and a cause of death has yet to be released. However, rather than focus on the tragedy of her death, I would instead like to focus on the gift she brought us in life, the gift that is Lois Lane.

When you think Superman, there are a few things that would go through your mind in association, for most, the chief among them would be Lois Lane. Lois has always been a staple to the Superman mythos, From the get go, Lois Lane is an often overlooked example of female empowerment. Written to be a career driven reporter at the then Daily Star (which would be renamed to the Daily Planet by Action Comics #23), Lois was even the first female character in comics to receive her own strip (this strip focused on Lois trying to prove Clark Kent was Superman). This was without a doubt a push of the strong female archetype presented during this time along with other characters like Rosie the Rivetter, pushing for females to step into the roles once filled by men while they were off fighting in the war. Unfortunately, this would not last.

Early Sketch of Lois Lane by Joe Shuster

When the War ended, and the men came back home, comics adapted to the times. Now marketing to young boys, Lois became an accessory to the Superman brand rather than her own independent character, she was sidelined as a mere love interest. Her independent personality and drive became a sidelined aspect of the character. However, as the stigma towards women changed throughout the years, we got to see Lois return to those powerful roots. This was in no small part due to Margot Kidder's portrayal of Lois Lane. Street smart, independent, devil may care, Kidder's Lois brought the character back to her golden age characterization, and so this became the staple once again. Lois in the comics began to reflect what we saw on film.

Even though Kidder's portrayal was progressive for its time, there is always room for growth and Lois Lane has done just that. Now she's not just a pulitzer winning reporter, but has a decent amount of combat training that allows her to defend herself. Her dynamic as a character has shifted from independent women and reporter, to empowered mother and professional that does her best to balance her family and work life. In addition she serves as support to Superman in ways far more than just the motivation a significant other should give, but even jumping into Batman's hellbat armor to help her husband take down alpha tier metas. Joe Shuster and Jerry Spiegel may have been responsible for bringing Lois Lane to life, but Margot Kidder has been just as important to that legacy and has added to the legacy of Lois Lane in her own way.

Rest in Peace Margot Kidder, you helped us believe a man could fly years ago, I am happy you get to fly up there now amidst the stars.

This has been another edition of Comic Relief! I hope you have enjoyed and we will see you next time!

Black a Comic that Forces Us to Look at Race in America

Welcome Back to another edition of Comic Relief! where we talk about all the goings on in the world of nerd!

This edition is a bit of a throwback, this was a piece I wrote while I was still with Moviepilot, however, since it no longer exists, but I still support this author and what he was trying to do, I decided to republish it here. So enjoy!

Since their inception in the late 30's & early 40's, comics have been used as a force for social change. In the 30's and 40's they spoke out against Hitler, and fought the Nazi's right alongside our soldiers, in the 60's and 70's Superheroes fought for racial equality and upheld ideals brought about by the Civil Rights movement. So what is the struggle of our generation, of our today. Every day it is impossible not to scroll down a news-feed, or turn on a television to find more tragedies surrounding police violence and strife in African American community. Police brutality, racial profiling, and racial equality are topics that ceaselessly find their way on the tips of everyone's tongues, and in a country that boasts about it's equality, it becomes harder to accept that these transgressions continue. The comic book world is aware of this as well. That brings us to a graphic novel called BLACK.

Click me!

I first heard about this title back when it launched its kick-starter in February and now with it on the verge of release I felt compelled to share it with the community here at moviepilot. Anyways, I got ahold of series creator Kwanza Osajyefo, and I did a quick Q&A with him about his upcoming graphic novel: Q: So in the description of the comic, you say "In a world that already fears and hates them, what if only Black people had super powers?" (great concept by the way), would you mind expanding a bit about what is going on in this series? A: BLACK takes place in a world very much like the world we live in today. One in which we’re still struggling with race issues, in particular those involving Black people. The main character, Kareem, is a victim in a police shooting, and that’s where the story diverges from our reality: He wakes up in a ambulance, unscathed. That immediately thrusts Kareem into a world that’s been very purposefully hidden from public knowledge – a world where only Black people exhibit superhuman abilities. Q: Obviously we have seen several tragedies in the news, especially over the past year or so in regards to police shootings and racial profiling. Now I know that this concept has been brewing for a while, but was there any particular moment where you saw something like this happen that may have contributed to the story you put forward? A: I came up with the concept for BLACK about ten years ago. It was a combination of my experiences as a person of color in the US mixed with a love of comics. In those stories, heroes are shunned by society and still have to survive. In that context these characters wore flashy costumes that they could take off and pass as “normal.” It made me think about how eyebeams and retractable claws are not a strong parallel to the issue of bigotry they represent. Because, for the most part, they can hide in plain sight, mutants were not getting pulled over for driving a nice car, or murdered because they are in the wrong neighborhood. Black people don’t get to pass in society like an X-Man hoping to not be discovered. We walk down the street and there are people putting targets on our back for no reason other than skin tone. BLACK is my way of tethering sci-fiction to relevant and important issues. Q: To steer away from the story here for a second, I want to say I LOVE the cover. The use of the noir style emboldening with red conveys a certain eeriness and is the first thing that kind of drew me in, now I've seen the sketches that you have put up on the page, but will the final product keep that same kind of noir feel to it that you see in the cover, or what exactly would you say the tonal scheme will be for your book? A: The cover theme was brilliantly conceived by Khary Randolph. I had a number of suggestions -- mainly a single, impactful focal point -- but after telling him the plot he created a cover that succinctly incorporated the story and current events in a simple yet complex piece of art. And that’s tone of the book, a concept that is simple to grasp yet with many layers to peel back. Jamal Igle’s interiors help ground the fantastic because these characters don’t live in a world where they can thwart societal norms and the world isn’t fundamentally changed — for better or worse.

Q: Thank you so much again, it has been great chatting with you about BLACK, I look forward to reading the graphic novel when it hits shelves in September, and I wish you and your team the best of luck! However, I do have one last question for you, and that is if people take anything away from BLACK what would you hope it to be? A: That this is science fiction, but the issues it touches upon are not. BLACK does have a certain perspective but it is not a book for any one group of people. It’s part of the American story whether some are willing to acknowledge it. We’ve been fed a particular narrative for so long that something like BLACK may seem disruptive, but it’s been part of our story since before any of our time; we just need to listen — or in this case read. Once again, I want to thank you Kwanza Osajyefo for the opportunity to talk to him about his upcoming work, I realize time to be very valuable and for as talented a creative team as his it means a lot that they would take that time to talk to me about their project. As someone who was raised Jewish, I have learned most of what I know about prejudice through the history of my own people. Throughout their history, my ancestors struggled through hate, slavery, and flat out murder by the world around them. In the Jewish community we have a motto in reference to the holocaust: "Never Again." It is in reference to the fact that while we were being placed in ghettos, rounded up like cattle, and slaughtered by droves, the world turned it's head away rather than take a hard look and tell Germany: No More. Never Again is about ensuring that in the face of another such struggle, that we (not just the Jewish community, but the world) will not turn away again. Now I look around at the world, and more closely the country I live in, and what I see scares me. The hate that has been sewn over generations has been unleashed tenfold it seems, and victims are at every corner screaming upon deaf ears for help. I see this graphic novel as an opportunity to lend society a bunch of hearing aids and wake up to the world around them, to allow the cries of those victims be heard. I write this article because I feel that this comic embodies those words, that mission: "Never Again." Even the smallest voices can move the world to change, and I feel that this voice could be a loud one.

BLACK in a world that already hates and fears them, what if only black people had super powers? The Collection of this Run is now available in Trade Paperback!

I hope you have enjoyed this edition of Comic Relief!

Thanos & Iphigenia: The Mad Titan at Aulis

Welcome back to another edition of Comic Relief! where we talk about all the goings on in the world of nerd!

Whenever I read a comic book or watch a superhero film, I always find it very hard to not compare the material presented to the great myths that came before. Comic books after all are a form of modern mythology, heroes that embody the traits that we as a society hold dear struggling against overwhelming odds and overcoming them, it's nothing new, but the romanticism of heroes has been a cornerstone of society since the beginning. After seeing Avengers: Infinity War a second time, I was allowed to be a bit more comprehensive in what I absorbed, and so like all the stories that have come before it, I began to draw parallels to certain myths. What I saw in that film had a certain familiarity to it, it resonated with a story that shaped my interests at a young age, Infinity War felt like a cosmic retelling of the Trojan War. Not all the pieces are there of course, there is no Helen, no city fated to fall, no conflict to last 10 years, but the scope of the conflict match, and the film does form its finale over a siege to gain the final Infinity stone (in a way I guess you could say that Vision is Helen now that I am thinking about it), but still the point is there are similarities. However, there is one in particular that I would like to focus on, and that is the MASSIVE similarities between this film's villain/protagonist: Thanos, and the Homeric hero, Agamemnon leader of the Achaeans.

In the stories of the Trojan War, the character of Agamemnon has a recurring narrative of sacrifice. It seems that in order for victory to be achieved, Agamemnon is constantly force to pay a price. It is important to note the first MAJOR similarity between these two is that like Thanos, Agamemnon is a very successful warlord and has a hold on a vast number of territories, the only economic power to rival his Mycenae was in fact Troy. It is important to remember that while Agamemnon may be fighting for his brother on the surface, sacking Troy has it's personal benefits and in several versions of the tale, control over Troy's trade routes is a massive motivator for his involvement in the conflict. It's because of this, that in order for Agamemnon to reach Troy, the gods demand a steep price. Artemis, having felt slighted by a lack of offerings made, has plagued the Greeks with unfair winds for travel across the sea. Upon reading the augurs, the high priest of the Greeks says that the virgin goddess of the moon demands recompense in the price of Agamemnon's daughter. While Agamemnon is against this and tries to fight it, his captains create a rouse to bring his daughter Iphigenia to Aulis under the auspice of a fake marriage to Achilles. Agamemnon eventually relents, and the long and short of it is that Iphigenia is sacrificed and the goddess grants the Greeks their favorable wind.  As the leader of the Greeks, sacrifice is what is expected of him, even in the Iliad, which starts 9 years into the conflict, Agamemnon again is to part with his favorite war prize Chriseis to appease Apollo and end his wrath of a plague. Sacrifice is his cross to bare, but his prize in doing so is the sack of the fabled city, and a place in legend that stretches an eternity.

So this is actually not Agamemnon, it's Achilles with Iphigenia, the art was just too damn good. check out the artist here

Thanos also bares that same struggle. He is the only one with the will to do what must be done, and to be the savior of the universe, he must pay a high price. When Gamora takes Thanos to Vormir, they are greeted by a spectral Red Skull (just as a side note, Skull is garbed in an ebony cloak that is very similar to the ones the high priests of old wore, so there are even parallels here to the Greek high priest relaying the augurs to Agamemnon). Red Skull informs Thanos of the price that must be paid to attain the soul stone, that Thanos must sacrifice that which he loves most. However, what's more is that Skull's wording implies that this thing cannot be material, it must have be a living being:

An equal price must be paid, a soul for a soul.

While there were probably more scenes initially to hammer this point home that were probably taken out due to time constraints, it is very clear from what is shown in the film that Gamora did in fact hold a special place among Thanos' "children." Out of all of them, Thanos saw Gamora as most like an actual daughter. Thanos drags his daughter to the edge of the cliff, and hurls her to her demise, and the sacrifice is paid. The soul stone reveals itself to Thanos, and this serves as the film's climax as Thanos knows where the last two stones are and can claim them himself. At the end of the film, as the dust clears Thanos has a vision of a young Gamora that asks him what the cost was to achieve his goal. Thanos weeps in his reply of a single word: "everything." Thanos has won, but what was the cost?

A similar question can be asked of Agamemnon. To sack Troy he had to sacrifice Iphigenia, and while he did eventually it took 10 years of his life to do so. Enough time for his wife to find a new lover, and in her resentment over the murder of her daughter, plot Agamemnon's murder. Agamemnon returns home where he is murdered by his wife during his evening bath. Agamemnon took Troy, and it cost him literally everything as well. It is interesting to think on if Thanos' own sacrifice of Gamora will have a similar cost. This is not me laying down any theories of what may happen in Avengers. It's just that the tragedy of these two characters is parallel in so many ways that I can't help but be fascinated. I hope it was intentional, but even if not, it's fun to see how much these old stories can effect us subconsciously while we create the legends of the next generation.

I hope you have found equal fascination in these revelations as well, this has been another edition of Comic Relief! We'll see you next time!