Tag Archives: Starlord

Jack Fisher’s Weekly Quick Pick Comic: Thanos #1

Every Wednesday, a new batch of comic books comes out to bring a badly-needed dose of awesome to a world that can never have too much. Not all of them are generic superhero comics. Not all of them are cheap kid-friendly comics full of talking animals and princesses, either. However, they all contribute to the overall awesome in their own unique way.

This week has more going for it than most. While new comics are certainly a joy to fans of superhero media, the upcoming release of “Avengers Endgame” is, by far, the bigger event. I would go so far as to argue that it’s the biggest event in the history of the superhero genre. However, that event wouldn’t be possible without the comics that birthed these iconic characters.

This week, one character is destined to stand out over everyone else and he’s definitely not a hero. He is Thanos, the Mad Titan who brings death, destruction, and wrath wherever he goes. He brought the Marvel Cinematic Universe to its knees in “Avengers Infinity War.” He’s done it more than a few times in the comics as well. However, “Thanos #1” dares to tell a different kind of story.

In this story, Thanos is still the death-loving, power-mad titan he’s always been. A good chunk of the narrative is spent reinforcing this in ways as brutal as anyone would expect of the Mad Titan. That brutality is important, but not just to Thanos. This story is more about Gamora than it is about him.

Thanos #1” isn’t just some extended flashback that reinforces how menacing Thanos is or why he’s one of Marvel’s greatest villains. This is Gamora telling her story about how she became the most dangerous woman in the universe under his guidance. It’s definitely a story worth telling and writer, Tini Howard, doesn’t gloss over the gruesome details.

Through Gamora, we see that Thanos isn’t just a cruel, mass murderer. He really is mad on many levels. There are times when he kills with a goal in mind. While that goal isn’t always logical, he does show that he knows how to employ tactics and he knows how to lead other killers into battle.

Then, there are the times when he just kills because he is not a stable mind. It doesn’t matter if it costs him valuable soldiers and crew members. He kills for the same reason other people collect Star Wars toys. He’s obsessed with it. In the same way some fans can never have too many Darth Vader action figures, Thanos can never have too much death.

Howard does plenty to flesh out this side of Thanos. By reinforcing the extent of Thanos’ madness, it makes Gamora’s role a lot more meaningful. That meaning is important because Thanos shows, time and again, that he’ll kill anyone and everyone without a second thought. Whether it’s an entire planet of pacifists or his own crew of murder-happy minions, he does not hesitate for a second when that murder itch strikes.

However, he does hesitate when he encounters Gamora. It’s not out of compassion or pity, either. Something about her stands out that sets her apart from the countless victims Thanos has killed throughout the cosmos. It’s not immediately apparent. It’s also substantially different than what we saw in “Avengers Infinity War,” but the underlying theme is the same.

It still carries dramatic weight and the artwork of Ariel Olivetti nicely captures that drama. Gamora, who narrates the story, doesn’t portray herself as an impressionable victim who was eager for a power-hungry madman to corrupt her. She was, by and large, just a young girl trying to escape a massacre with her family.

She didn’t come from a warrior culture. She didn’t have a violent streak in her. She was, by all accounts, just an ordinary alien woman who wanted to live peacefully in the only world she’d ever known. For her to become the most deadly woman in the universe, she had to be forced down that path and molded in the most brutal way possible.

It’s yet another testament to just how devious Thanos is, both in the comics and the movies. He’s not just capable of leading a team of murderers from one slaughter to another. He’s also capable of turning an otherwise innocent woman into one of the most deadly killers in the universe.

Thanos #1” is one of those comics that came out at the best possible time. Thanks to the events of “Avengers Infinity War” and the upcoming release of “Avengers Endgame,” the extent of Thanos’ villainy has become a major component of the superhero genre. He is the standard by which other villains are measured now and, like the movies, Gamora is part of that story.

Despite the differences between Thanos in the movies and Thanos in the comics, they share a common link through Gamora. She is an integral part of his journey, as a villain. She embodies just how much Thanos’ cruelty can shape and mold those around him. She is who she is because of Thanos and, as much as she hates it, he defines her.

Gamora’s story is not a pleasant one, but “Thanos #1” proves that it’s worth telling. At a time when all things Marvel are fueled by all things Thanos, the timing couldn’t be better for such a story.

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What “Guardians Of The Galaxy” Can Teach Us About Character Development

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What makes a character great, iconic, and memorable? Think of your favorite character from your favorite movie, novel, or TV show. Why do they stand out? What is it about them that just makes you want to hug them, love them, and reenact every scene from every porno ever made since 1982? Take all the time you need. I imagine it involves some fairly extensive thought, among other things.

Creating these kinds of characters is one of the greatest challenges that any director, producer, or aspiring erotica/romance writer can face. It doesn’t matter how great the story is, how awesome the action sequences are, or how gratuitous the nudity is. If there’s no iconic character, then the story just won’t have the kind of impact you’ll feel in your heart or your loins. Just ask Michael Bay. Better yet, ask Megan Fox.

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That’s why I’ve often seen characters as the bedrock on which any great story is built. In the same way you can’t build the Empire State Building on a mountain of soft, unstable shit, you can’t craft a great story without lovable, memorable, and iconic characters.

I’ve certainly tried to create those kinds of characters in my novels. Stories like the ones I craft in “Passion Relapse” or “Skin Deep” rely heavily on developing strong characters with strong motivations. I won’t say those stories succeeded. I’ll leave that up to the readers, but that process may very well determine how my career as an erotica/romance writer plays out.

That brings me to the “Guardians of the Galaxy” movies. I know that’s not much of a segway, but cut me some slack. When you’re trying to relate the challenges of character development with a movie that has both a talking tree and a raccoon with a machine gun, there’s only so much you can do in terms of transitions.

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For those of you who have been under a rock and/or in a coma, “Guardians of the Galaxy” is the biggest surprise hit in movies since some guy named George Lucas convinced movie producers that audiences wanted to see space battles, Wookies, and light sabres.

The first movie came out in 2014 and made $773 million worldwide. For a movie based on a team of obscure comic book characters that nobody outside the most hardcore of comic book fans knew existed. They are not the Avengers. They are not the X-men. They were the D-list of D-list characters.

The story of how they ended up being one of the biggest franchises that didn’t come from the mind of George Lucas or Stephen Spielberg is epic in and of itself. It might have simply been a matter of pragmatics, given how Marvel doesn’t own the movie rights to all its iconic characters.

Whatever the circumstances might have been, though, James Gunn and Marvel Studios managed to create another blockbuster franchise for Marvel and Disney. For a couple of companies that are never satisfied with just a few billion dollars here and there, that’s saying something.

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The success is undeniable. Just this past week, “Guardians of the Galaxy Vol. 2” came out and generated $145 million domestically on top of the $427 million it had already generated worldwide. I saw the movie the day after it came out. It’s fun, it’s heartfelt, and it’s dramatic in the best possible way. If you haven’t seen it yet, it’s well-worth your time.

In watching this movie and its predecessor, though, I saw something that was actually more remarkable than a raccoon with a machine gun, if you can believe that. I saw, in my opinion, a case study on how to develop endearing, memorable characters that will both entertain audiences and make them care less about overpaying for popcorn.

The best example, in the context of the first two movies, is Peter “Starlord” Quill, who is played by Chris Pratt. That fact alone is both remarkable and telling because before “Guardians of the Galaxy,” Pratt was best known as that chubby dork from “Parks and Recreation.” In a sense, though, the journey of the Andy Dwyer and that of Starlord tell a similar story. One just has a lot more sex appeal than the other.

When both “Guardians of the Galaxy” and “Parks and Recreation” start out, both Starlord and Dwyer aren’t presented as likable characters. One is an admitted thief and outlaw. The other is a selfish slacker. On the surface, they give no reason as to why we should hope they succeed at anything that doesn’t involve severe head trauma.

That changes quickly though, especially for Starlord. Shortly after the story begins in “Guardians of the Galaxy,” we start to see that he isn’t just some renegade outlaw looking to steal things, blow stuff up, and swim in a pool of orphan tears. He’s just trying to get by in a galaxy full of rough circumstances.

He and the rest of his crew, including the talking tree and raccoon, are all in a similar boat. They’re not out there looking for baby seals to beat with baseball bats. They’re just trying to get by, making as much money as they can with their limited skills and jaded reputations.

Sure, it leads to a clash that nearly destroys a planet, but that’s not their fault. Those are just more rough circumstances, coupled with an insane alien religious zealot with a big ass hammer. It’s every bit as ridiculous and entertaining as it sounds.

That situation, as well as their lot in life, is a big reason why Starlord and his ragtag team of outlaws gain so much appeal. It’s also a major factor in what made the story so great. These characters, especially Starlord, aren’t born as princes, prodigies, or heirs. They don’t just start at the bottom of the social ladder. They start in a deep hole right under it.

Starlord had a lot of shit luck early on. He never knew who his father was as a kid. His mom died of cancer. Then, a team of alien bounty hunters abducted him and made him their personal bitch for most of his life. He’s not just an underdog. He’s someone that even other underdogs spit on.

That makes his efforts to find a better lot in life, including those involving crime, both understandable and justified. There’s almost no other way for Starlord to pull himself up and carve out a better story for himself. He has to be an outlaw of sorts. Having Chris Pratt’s sex appeal is just a nice bonus.

However, the outlaw persona is not the core of Starlord’s character. It’s never more than a secondary trait at best. Starlord is still a hero in the sense that when the situation gets tricky, his first inclination is to do the right thing. When what he thinks is just a simple heist turns into a galaxy-threatening crisis, he doesn’t need any coaxing. He wants to do the right thing.

That doesn’t just make him heroic. That makes him endearing. That makes him someone we can root for. That makes him someone we can get behind. In terms of creating an iconic and endearing character, Starlord checks all the right boxes and so do much of his teammates, including the talking tree. Given Groot’s limited vocabulary, that’s quite an accomplishment.

Guardians of the Galaxy Vol. 2” takes that effort a step further by having Starlord meet up with his long-lost father. It both expands on the origins that began in the first movie and adds greater emotional appeal.

The first movie succeeded in making Starlord a character we can root for. That meant that even before the second movie began, we as an audience were already rooting for him. We wanted him to find his father. We wanted him to have the kind of relationship that he wanted with his father.

I won’t spoil the key details of the movie, but I’ll just say that the this sentiment is what makes the story in “Guardians of the Galaxy Vol. 2” especially devastating. However, it’s devastating in the best possible way because it reminds us how much we were rooting for this character.

We all wanted Starlord, a guy who lived most of his life in the armpits of society, to achieve that happiness he sought. When the devastating truth comes out, it hurts both him and the audience. We empathize with his plight and we share in the devastation.

This is the most potent manifestation of a character that any novel, movie, or TV show can achieve. When it gets to a point where the audience shares in the struggle and plight, it becomes more than just an entertaining story. It becomes personal.

Starlord’s journey might not have been the same as Superman, Captain America, or even Luke Skywalker, but it’s a journey we shared. It’s one that evoked all the right emotions within us. That’s why it was so effective. That’s why James Gunn, Chris Pratt, and Marvel are now swimming in a fresh pool of money.

There are many lessons that can be learned from movies like “Guardians of the Galaxy” and not just those espoused by talking trees. As an aspiring writer, I want to create characters like Starlord that readers want to root for. I want a character whose pain and pleasure will be felt by everyone who reads it.

It’s not an easy feat to accomplish. I’ve made a concerted effort in every one of my novels. I won’t say I’ve succeeded yet. I won’t say I’ve failed either. However, I do feel there’s plenty of room for improvement. I’ll just have to figure out how to do it without the aid of a talking raccoon with a machine gun.

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