At the beginning of the first chapter of the so-called New World Order, everything seems to be the same in Marvel World (MCU) – Sam Wilson (sister Balkan) sweeps across the sky, saves hostages with computer tricks and collaborates with the US military on bad ideas. The era of heroes across America has not disappeared. But something unexpected comes up: The Balkans and the Winter Soldier continue where other superhero epics end.
Sam Wilson returns home after apparently refusing to become America’s new captain. She looks at her sister, remembers her childhood, and tries to negotiate a loan with a local bank. James “Bucky” Barnes (or Winter Soldier) also appears in action, but unexpectedly quiet – in therapy. Sessions are a condition that he forgives for planned murders that he has controlled by someone else. Each event takes on a somewhat unexpected individual dimension of Marvel. This is where the introduction ends, because part of the magic of the series is the gradual revelation of the effects of Avengers: EndCom (2019). However, the later development of the first two chapters is more thoughtfully linked to the previous Marvel series.
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Vandavision (2021) is primarily a bold systematic experiment with the tropics of classical and modern sitcoms, but very moderate in The Balkan and Winter Soldier genres. The vision of the witch series theme worked not only on the level and interest of the audience, but also on the metaphysical level of the protagonist most explicitly, but cleverly combines different stylistic and story traditions depending on the decade in which the heroes found themselves. Marvel Innovation, on the other hand, is relatively close to the ground and the steel wings do not stretch too much. It’s a very humble crime, so it’s an action thriller, which itself does not attract much attention. He very subtly adopts certain types of techniques, but he never goes beyond the realm of consciousness. For example, it includes a handheld camera and allows for faster framing or zooming in on a shot to tighten the scene multiple times, but is no longer valid.
Although the glamorous film Black Panther brings a promising utopian version of aphrodisiacs, the series immerses the ethnic theme in the context of contemporary America, where hope is like saffron.
This story brilliantly presents the new status of Marvel University and gradually lays out the details on what basis viewers can reconstruct the effects of Endcam. It’s like the Netflix MCU series like Luke Cage (2016-2018) or Daredevil (2015-2018), which was often about the impact of heroic actions on ordinary New Yorkers. We will gradually find out what life might have been like after Thanos’ photo and how things are returning to the (new) normalcy. The series is mainly hosted by conspiracy thriller conferences, centered on the terrorist organization Flag Smashers. It strives for a world without borders and citizenship and is a collective redefinition of the negative comic book of the same name. Where individual figures stand, there are now groups. From a very close Vandavision, we are moving here to more global political conflicts.
However, the parallels between the series are clear. Vandavision was a brilliant exercise in escapism above all else. The weary warrior unknowingly came up with a way to destroy the losses that the hero had brought upon him. The heroes of The Falcon and the Winter Soldier deal with similar traumas when they lose a friend. What’s more, America has lost its logo in the form of Captain America. From the first two parts, it is clear that the country needs a new logo. As the government practically fills the gap, Sam and Bucky think the poster white man can no longer unite contemporary America.
The issue of trauma was strong in Marvel’s first series, but here it gets something other than romantic meanings. Bucky at the forefront finds it difficult to know his bloody past. Like Winter Soldier, he has committed dozens, hundreds of murders, and like Bucky, he has to deal with them. The Falcon and the Winter Soldier face the attitude of the U.S. administration to soldiers, often impersonation, institutionally controlled treatment, which is the only (and often not enough) state aid. However, even after two episodes, his theme is not fully explored – paradoxically, it prevents him from trying to get a friend-comedy series full of blatantly funny exchanges between two very different heroes.
With the exception of Black Panther (2018) – the title of the non-MCU race is very strong here. Although Ryan Kugler’s fascinating film offers a promising utopian version of Afrofuturism, the series takes the theme to the contemporary American context, where hope is like saffron. This is not only the obvious gesture of Sam Wilson aggressively stopping the police, but also his brief conversation with James Rhodes (War Machine). Rhodes speaks of a “post-Thanos” world breaking and unstable. The conversation ends with the sentence: “This is a new day, brother”, in which we can hear the echo of Black Panther’s faith. Unlike other familiar names, “brother” has broader social connotations, especially when an African American addresses another. Creating some kind of illusory linguistic relationship refers to a common experience between two human beings. We will place them in the context of stars and stripes everywhere – after all, they only stand in the Captain Museum – and we will see that this series can also represent the common experience of blacks in contemporary American society.
Between the gods and the people
What’s more, in the next episode, an old man named Isaiah appears briefly. Marvel systematically draws comics, but does so implicitly – usually rearranging many unique story elements, objects or characters for their own use. In this case, we can assume that the man was Isaiah Bradley. Truth: He is a key figure in the comic book series Red, White & Black (2003), which told of the U.S. military’s experiments on three hundred African Americans, which led to the original in an attempt to recreate a usable superhero serum. Captain. This is a socio-critical series diagram of the infamous clinical study of syphilis in Duskey. The comic was once on Spike Lee’s search engine, but the plan eventually fell through. It is therefore necessary for Isaiah to appear in the current series and his presence is reminiscent of the legacy of the original Captain of America. The black superhero was, but institutionally removed from public space.
However, in some ways, it continues from the second episode of The Falcon and Winter Soldier Avengers: Age of Ultron (2015), which in many ways was the best, although it had some issues with speed. The megalomaniac superhero action created fierce opposition between god-heroes and human heroes through the character of Clint Burden (sister hockey). He is a kind of crossroads: a very talented avenger on the one hand, the father of a family and a husband on the other. When he set his bow, he returned home, to a normal world, a place inaccessible to others. His perspective seems to be taken over by the series by Bucky and Sam – men who live in small apartments, who successfully apply for loans and are emotionally unable to connect with others because their heroic identity prevents them from doing so. On whose shoulders men rest the weight of a symbolic shield, which is transformed into a marketing brand in the hands of the state.
So, if anything is clear from the first two chapters, it could be a twist to topics that have so far been ignored such as racial issues, trauma, organizational maintenance and pressure to meet expectations. The Balkan and Winter Soldier series is finally human. That’s very good.
The author is a film promoter.