"Unity" Makes the Old New Again

Matthew Derman

The super-people who band together to take Aric down are all characters from other Valiant Comics titles, ostensibly making Unity something of a Justice League or Avengers type book for the publisher, except that the stars of Unity aren’t exactly heroes.

The first arc of Matt Kindt and Doug Braithwaite’s Unity is founded on two classic superhero comicbook occurrences: the team-up and the hero-vs-hero battle. It also includes several instances of characters describing how their powers function, a major event that changes the status quo of the fictional universe, and villains who believe they are doing the right thing when in fact they’re just megalomaniacally abusing their power—all of which are well-worn tropes of the genre. So why doesn’t the series feel tired, familiar, or predictable? Its opening narrative may not have boiled my brain with its innovation, but it sure never lost my interest, either. With a layer of political tension on top of everything, and the overall feel of a war story rather than a typical superhero adventure, Unity manages to spruce up some old standards quite nicely.

Right away, the threat of this comic is a little more real-world than usual for superhero stories. Yes, the problem originates with Aric, a.k.a. X-O Manowar, invading Romania in his suit of superpowered alien armor and establishing it as a new home/kingdom for his people. But the true danger isn’t necessarily Aric himself as much as it is Russia’s planned nuclear attack on Aric, and his inevitably destructive reaction to that attack. Yes, he’s an unwelcome and highly dangerous force that needs to be dealt with, but for the rest of the cast, the urgency of dealing with him has more to do with avoiding an atomic disaster than defeating another bad guy.

The super-people who band together to take Aric down are all characters from other Valiant Comics titles, ostensibly making Unity something of a Justice League or Avengers type book for the publisher, except that the stars of Unity aren’t exactly heroes. Toyo Harada is, in fact, the primary villain of Harbinger, and though Eternal Warrior star Gilad is a good guy now, he began as an antagonist in the pages of Archer & Armstrong. Ninjak is somewhat morally ambiguous, a spy and assassin for the British government. Finally, there’s Livewire, who has a good heart, but her head is all turned around thanks to years of loyal subservience to Harada, which she is only now beginning to shake off. There isn’t a truly spotless record in the bunch, so as far as superhero teams go, I’m not sure how heroic this group really is. They’ve got a great deal of power between them, though, and the moves to back all of it up.

There’s a lot of smart tactical dialogue in the book, both before and during the big fight with Aric. It’s one of the things that makes Unity read like a war story, and it’s also how Kindt manages to have his characters explain their abilities without it seeming like forced exposition. When they detail how their powers work, it’s because they are trying to figure out for themselves how to survive or win the conflict. They aren’t bragging about what they can do for no reason, or talking through every single move they make just to fill the air with speech bubbles and hold the reader’s hand. When their actions are able to speak for themselves, they do, and the only time anything is explained out loud is when it’s genuinely necessary. This is true even in cases like when Ninjak is internally narrating about how all of his high-tech equipment works, allowing him to infiltrate the spaceship that is Aric’s home base and, later, stay alive when fighting Aric one-on-one. In the moment, Ninjak would necessarily be thinking through how his gear operates and what he needs to do with it next, so letting the reader in on that thought process makes sense, on top of helping us understand what we’re seeing. Kindt chooses his spots wisely for these moments of character exposition, using them for more than just dryly delivering information.

Mixed in with the discussions of what everyone is capable of are several more general strategic conversations. Harada and Gilad are both incredibly gifted and experienced warriors and, by extension, talented tacticians, so their individual assessments of the current and future situation with Aric are something they talk about/debate quite often. Harada is a little more arrogant and therefore less cautious than Gilad, but neither of them are as full of themselves as Aric, which is how they win in the end. Aric is a man with an immensely powerful weapon (his armor) that he does not fully understand or even control. So despite fighting on his home turf and, arguably, being the mightiest single person on the battlefield, Aric is so in over his head on a strategic level that he loses pretty quickly and completely. As it’s happening, Gilad and Ninjak try to explain to Aric why he’s going to lose, not because he’s been overpowered but, instead, because he’s been outsmarted and outdone. With enemies coming at him from all sides, all of whom fight with more planning and precision than he could probably ever pull off, Aric never really stands a chance. He gets his licks in, sure, but the writing is on the wall for him as soon as Harada, Ninjak, Gilad, and (most importantly) Livewire agree to work together.

That’s actually another way in which Unity does something outside the norm. More often than not, it is the superheroes who seem as though they have no hope of victory, fighting a villain who is either so powerful, so well-prepared, or both that nobody can conceive of a way to beat them. This dynamic will typically last until the story’s final moments when, miraculously, the good guys figure out some sort of last-second move to come out on top. In Unity, the first arc took only three issues, so there wasn’t that much time for the protagonists to be on the ropes. The first issue, logically enough, was all about introducing the cast and putting together the main team. Aric is then basically beaten by the end of the second issue, and the third deals with the fallout of his defeat. That’s an unusual structure, and it’s built around a super-team who’re fighting a threat that they’re more than qualified to handle, which is counter to what’s expected.

Even after Aric is defeated, the resolution of the storyline throws a few curveballs. The traditional conclusion to a story where a group of heroes is hurriedly assembled to battle a specific threat is that they decide to stick together as an official team once that threat is neutralized, having learned respect for and trust in one another through their shared struggles. But like I said before, the heroes in this book aren’t that heroic, and no sooner is Aric put down then Harada rises up as a new villain for the rest of the characters to tackle. The most important aspect of the group’s victory over Aric is that Livewire is able to take control of his armor through her technology-based powers. By removing his only real weapon, Livewire renders Aric largely impotent, but that doesn’t solve the core problem of the armor’s existence. No matter who its owner is at any moment, it’s an advanced and dangerous an item that nobody fully understands. On this point, everyone can pretty much agree, but trouble brews when Harada decides, on behalf of the rest of humanity, that he is the person who should be trusted to guard Aric’s armor. His teammates are just as uncomfortable with that as they were when Aric had it, because Harada’s a selfish narcissist who can’t be trusted or even reasoned with. Rather than openly defy Harada and jump right into another major conflict, though, Livewire hands over the armor at first and lets Harada lock it away as he wants. But she also immediately begins to secretly organize the rest of the team to go after Harada like the out-of-control force of evil he is. That’s where we’re left at the end of Unity #3, with Livewire, Gilad, and Ninjak gearing up to take on Harada, a team at odds with itself almost as soon as it’s formed. It’s not the route most such comics take, and it adds a dash of irony to the title of this particular series. Though there’s still a sense of unity amongst some of the characters, there is at the same time a splintering between them, making the future of the book unclear, since it’s not even obvious yet who’s staying in the cast for how long.

While the story obviously bucks trends in many ways, Doug Braithwaite’s art is also doing some standout, atypical stuff. He finds a lovely spot of common ground between pop superhero cartoonism and heavily-detailed realism. His characters are physically perfect, unnaturally fit and/or healthy and/or strong, but without their features being inflated or exaggerated to the point of becoming unbelievable. They are superhuman but in very human ways, not coming across as larger than life but, instead, looking more like life amplified. When flying through the air or firing brilliant beams of light and energy, they seem totally at-ease, but long and emotionally tense conversation scenes are no less interesting or natural. Livewire looks fine in her spandex costume next to Gilad in his tattered cloak next to Ninjak in his ninja outfit next to Harada in a business suit next to Aric in futuristic full-body armor. It all works in this world, and somehow everyone looks just as comfortable in a conference room as they do in the heat of battle on an alien spaceship. The superhero, sci-fi, and political thriller elements coalesce beautifully in Braithwaite’s hands, producing a unique, unified reality that has room for them all. Flipping through any issue, Unity is instantly recognizable as a superhero comic, full of high-powered action and incredible powers and all the usual trappings. Yet at the same time, it looks unlike any other superhero book on the stands right now, because Braithwaite has a much more grounded, grizzled, rough-around-the-edges style that distinguishes his work from that of his contemporaries, and makes it even easier for this series swerve expectations in its story.

Unity is still a relatively new title, so it’s too soon to tell whether or not it’ll always be the team book that doesn’t act like a team book. That may or may not have been an intentional choice for the opening arc, and even if it was, there’s no reason to expect the series to behave that way in perpetuity. It’d be great if that was the plan, but if not, that’s fine and perfectly understandable, since incessantly pushing back against the norms of the genre could potentially grow tiresome for creators and readers alike. No matter what the future holds, this initial arc is always going to be what it is now, a fun and fresh approach to many old school superhero storytelling tricks.


The Best Metal of 2017

Painting by Mariusz Lewandowski. Cover of Bell Witch's Mirror Reaper.

There's common ground between all 20 metal albums despite musical differences: the ability to provide a cathartic release for the creator and the consumer alike, right when we need it most.

With global anxiety at unprecedented high levels it is important to try and maintain some personal equilibrium. Thankfully, metal, like a spiritual belief, can prove grounding. To outsiders, metal has always been known for its escapism and fantastical elements; but as most fans will tell you, metal is equally attuned to the concerns of the world and the internal struggles we face and has never shied away from holding a mirror up to man's inhumanity.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Two recently translated works -- Lydie Salvayre's Cry, Mother Spain and Joan Sales' Uncertain Glory -- bring to life the profound complexity of an early struggle against fascism, the Spanish Civil War.

There are several ways to write about the Spanish Civil War, that sorry three-year prelude to World War II which saw a struggling leftist democracy challenged and ultimately defeated by a fascist military coup.

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Beware the seemingly merry shades of green and red that spread so slowly and thickly across the holiday season, for something dark and uncertain, something that takes many forms, stirs beneath the joyful facade.

Let's be honest -- not everyone feels merry at this time of year. Psychologists say depression looms large around the holidays and one way to deal with it is cathartically. Thus, we submit that scary movies can be even more salutary at Christmas than at Halloween. So, Merry Christmas. Ho ho ho wa ha ha!

1. The Old Dark House (James Whale, 1932)

Between Frankenstein (1931) and The Invisible Man (1933), director James Whale made this over-the-top lark of a dark and stormy night with stranded travelers and a crazy family. In a wordless performance, Boris Karloff headlines as the deformed butler who inspired The Addams Family's Lurch. Charles Laughton, Raymond Massey, Gloria Stuart, Melvyn Douglas and Ernest Thesiger are among those so vividly present, and Whale has a ball directing them through a series of funny, stylish scenes. This new Cohen edition provides the extras from Kino's old disc, including commentaries by Stuart and Whale biographer James Curtis. The astounding 4K restoration of sound and image blows previous editions away. There's now zero hiss on the soundtrack, all the better to hear Massey starting things off with the first line of dialogue: "Hell!"

(Available from Sony Pictures Home Entertainment)

2. The Lure (Agnieszka Smoczynska, 2015)

Two mermaid sisters (Marta Mazurek, Michalina Olszanska) can summon legs at will to mingle on shore with the band at a Polish disco, where their siren act is a hit. In this dark reinvention of Hans Christian Andersen's already dark The Little Mermaid, one love-struck sister is tempted to sacrifice her fishy nature for human mortality while her sister indulges moments of bloodlust. Abetted by writer Robert Bolesto and twin sister-musicians Barbara and Zuzanna Wronska, director Agnieszka Smoczynska offers a woman's POV on the fairy tale crossed with her glittery childhood memories of '80s Poland. The result: a bizarre, funy, intuitive genre mash-up with plenty of songs. This Criterion disc offers a making-of and two short films by Smoczynska, also on musical subjects.

(Available from Criterion Collection / Read PopMatters review here.)

3. Personal Shopper (Olivier Assayas, 2016)

In the category of movies that don't explain themselves in favor of leaving some of their mysteries intact, here's Olivier Assayas' follow-up to the luminous Clouds of Sils Maria. Kristen Stewart again plays a celebrity's lackey with a nominally glamorous, actually stupid job, and she's waiting for a sign from her dead twin brother. What about the ghostly presence of a stalker who sends provocative text messages to her phone? The story flows into passages of outright horror complete with ectoplasm, blood, and ooga-booga soundscapes, and finally settles for asking the questions of whether the "other world" is outside or inside us. Assayas has fashioned a slinky, sexy, perplexing ghost story wrapped around a young woman's desire for something more in her life. There's a Cannes press conference and a brief talk from Assayas on his influences and impulses.

(Available from Criterion Collection / Reader PopMatters review here.

4. The Ghoul (Gareth Tunley, 2016)

The hero (Tom Meeten) tells his therapist that in his dreams, some things are very detailed and others are vague. This movie tells you bluntly what it's up to: a Möbius strip narrative that loops back on itself , as attributed to the diabolical therapists for their cosmic purposes. Then we just wait for the hero to come full circle and commit the crime that, as a cop, he's supposedly investigating. But this doesn't tell us whether he's really an undercover cop pretending to be depressed, or really a depressive imagining he's a cop, so some existential mysteries will never be answered. It's that kind of movie, indebted to David Lynch and other purveyors of nightmarish unreality. Arrow's disc offers a making-of, a commentary from writer-director Gareth Tunley and Meeten along with a producer, and a short film from Tunley and Meeten.

(Available from Arrow Video)

​5. The Illustrated Man (Jack Smight, 1969)

When a young man goes skinny-dipping with a mysterious stranger (Rod Steiger) who's covered with tattoos, the pictures comes to life in a series of odd stories, all created by Ray Bradbury and featuring Steiger and Claire Bloom in multiple roles. Nobody was satisfied with this failure, and it remains condemned to not having reached its potential. So why does Warner Archive grace it with a Blu-ray? Because even its failure has workable elements, including Jerry Goldsmith's score and the cold neatness of the one scene people remember: "The Veldt", which combines primal child/parent hostilities (a common Bradbury theme) with early virtual reality. It answers the question of why the kids spend so much time in their room, and why they're hostile at being pulled away.

(Available from Warner Bros.)

6. The Hidden (Jack Sholder, 1987)

In one of my favorite action movies of the '80s, a post-Blue Velvet and pre-Twin Peaks Kyle MacLachlan plays an FBI agent who forms a buddy-cop bond with Michael Nouri while pursuing a perp -- a bodiless entity that plugs into the human id. In the midst of slam-bang action comes a pivotal moment when a startling question is asked: "How do you like being human?" The heart of the movie, rich in subtext, finds two men learning to embrace what's alien to them. In pop-culture evolution, this movie falls between Hal Clement's novel Needle and the TV series Alien Nation. On this Warner Archive Blu-ray, Sholder offers a commentary with colleague Tim Hunter.

(Available from Warner Bros.)

7. Twin Peaks: Fire Walk With Me (David Lynch, 1992)

Speaking of Twin Peaks, here we have a textbook example of a movie that pleased almost nobody upon its release but has now generated such interest, thanks in large part to this year's Twin Peaks revival, that it arrives on Criterion. A feature-film prequel to David Lynch and Mark Frost's original TV serial that answered none of its questions and tossed in a raft of new ones, the film functions as one of cinema's most downbeat, disruptive and harsh depictions of a middle-class American teenage girl's social context. Sheryl Lee delivers a virtuoso performance that deserved the Oscar there was no way she'd be nominated for, and she wasn't. The extras, including a 90-minute film of deleted and alternate takes assembled by Lynch, have been available on previous sets.

(Available from Criterion Collection)

8. The Green Slime (Kinji Fukasaku, 1968)

Incredibly, Warner Archive upgrades its on-demand DVD of a groovy, brightly colored creature feature with this Blu-ray. As a clever reviewer indicated in this PopMatters review, what director Kinji Fukasaku saw as a Vietnam allegory functions more obviously as a manifestation of sexual tension between alpha-jock spacemen competing for the attention of a foxy female scientist, and this subconsciously creates an explosion of big green tentacled critters who overrun the space station. While we don't believe in "so bad it's good," this falls squarely into the category of things so unfacetiously absurd, they come out cool. There's a sublimely idiotic theme song.

(Available from Warner Bros.)

If the idea is that earth, water, fire, air and space constitute the core elements of life, then these five songs might seem as their equivalents to surviving the complications that come from embracing the good and enduring the ugly of the Christmas season.

Memory will never serve us well when it comes to Christmas and all its surrounding complications. Perhaps worse than the financial and familial pressures, the weather and the mad rush to consume and meet expectations, to exceed what happened the year before, are the floods of lists and pithy observations about Christmas music. We know our favorite carols and guilty pleasures ("O Come All Ye Faithful", "Silent Night"), the Vince Guaraldi Trio's music for 1965's A Charlie Brown Christmas that was transcendent then and (for some, anyway) has lost none of its power through the years, and we embrace the rock songs (The Kink's "Father Christmas", Greg Lake's "I Believe In Father Christmas", and The Pretenders' "2000 Miles".) We dismiss the creepy sexual predator nature in any rendition of "Baby, It's Cold Outside", the inanity of Alvin and the Chipmunks, and pop confections like "I Saw Mommy Kissing Santa Claus".

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