Editorial 41: Frank Castle, Ubermensch 2

So, the site in which this article was posted disappeared and all its contributor’s work with it. Thankfully, I have the original final drafts of what I wrote, including my favorite Punisher-related article. Enjoy.

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Any time I have the opportunity to talk about Punisher I go all out. Of the Marvel Pantheon, he is the most interesting character with great depth that many readers overlook. Garth Ennis was the first to delve into Frank Castle’s psychology in Punisher MAX, exploring his transformation during the Vietnam War and time as a vigilante. After reading so many comics, I have come to the conclusion that Frank is a Nietzschean Superman.

To the uninitiated, Fredrick Nietzsche was a philosopher that pioneered the concept of nihilism, the belief that morality means nothing because they are ideas adopted on the basis of human ignorance. He really spoke to me growing up and influenced how I see the world today. My knowledge of Nietzsche is cursory to say the least, so I recommend doing your own research.

One of his more famous concepts is the Superman or Ubermensch, introduced in Thus Spoke Zarathustra. The Superman is an individual that can transcend the bounds of common belief and operate on his or her own terms. They are completely independent and function on logic alone, forming a set of values that supersede those of the majority, and shaping their destiny.

In fiction and history there are positive and negative examples of the Ubermensch. The Founding Fathers, Napoleon, and Hitler overcame society and did what they wanted. Colonel Kurtz from Apocalypse Now discarded morality for instinct to fight the Vietcong. The Emperor from Warhammer 40k developed the logic based Imperial Truth to unite disparate human worlds across the galaxy. The Brotherhood of Steel from Fallout worshiped technology because it means salvation for the Wasteland.

The Superman concept fits right in with the pseudo-objectivism of superheroes. A hero using their powers to save people could be a form of showing how much better they are. Does Clark Kent really care about humanity or does he enjoy being revered? Why else would Batman enforce his own justice if not to assert his values? Does Captain America use his inherent symbolism as a way to show others how to act and behave? Though cynical, it is hard to deny the underlining motivations of vigilantes. What really drives someone to take up a symbol, a set of principles, and enforce it upon the people they do not like?

Castle’s transformation into a Nietzschean character happened in Vietnam. Overtime, he could not live without war because he loved fighting. In the story Born, America was pulling out and Frank actively prevented his unit from leaving their post. Later his war ended, but when he returned home, the incident that killed his wife and children forced him back into the mindset of a soldier.

He is driven by a bloodlust resulting from PTSD. Usually soldiers at home will want to go back to the front because that was the last place they felt normal. You spend a year in place where everyday could be your last and when you transition into a whole other environment, it can be difficult to accept the change. Hunting Vietcong was Castle’s normal and after his family was murdered, he saw the gangsters, murderers, and child molesters as Vietcong. Even after getting revenge he kept going because he believes he is fighting a war and does not want to stop.

Frank’s set of values as an Ubermensch is based on basic justice and pure instinct. His motivation is very simple: If you are evil, you die. He has no problem murdering someone for even associating with people connected to a major crime. He killed his partner Microchip because he worked for a heroin kingpin and executed a thug that helped him infiltrate a gang hideout.

He sees the world in a black and white moral spectrum. Castle thinks you are either totally bad or totally good with no in-between. When dealing with good, he acts with a compassion that penetrates his stoic demeanor. He was once a family man and when reminded of that life, he regresses into a father or husband. Frank is selective about what he cares about, but he actually cares and feels emotion. Mother Russia has the strongest example where he rescues a little girl from a missile silo and prevents her from seeing the worst of him. When fighting off waves of Russians, he made sure the girl was nowhere in sight of the violence and safe.

Castle holds so close to his values that there is no room for hesitation. He is a practical man, using his training as a soldier to function in all aspects of life besides work. If he owes someone a favor or they have something he needs, Frank is willing to play nice, which happened a lot in Punisher MAX. He is dismissive about working with others and moves on once he gets what he wants.

There is also no feeling behind his need to punish because to him it is normal. It takes a very specific event to really compromise Castle’s cold exterior. One time was a mobster filming himself defiling the corpses of his family. Another was a prostitute telling her story about being a victim of human trafficking. In those instances, Frank’s stoic bearing broke and he was a different man all together. After the deed was done he returned to a state of calm.

We idolize heroic figures because they transcend our notions of humanity. Inside us is the power to be something more and all it takes is the will to do so. Fredrick Nietzsche believed that the Ubermensch was the next step in human evolution as we drift further away from our primordial roots. Frank Castle is just one of many possibilities if we are to realize our potential. He may not be the most ideal, but even damaged of individuals have the capacity to become heroes.

Punisher Comics Review 4

Season two of Daredevil heralds the coming of a new incarnation of Frank Castle, the Punisher, played by Jon Bernthal. Since my blog’s inception I have used it to examine the character and express my fandom, but I never talked about the comics that inspired me. And so, I will dedicate a new series of posts to covering my favorite Punisher books.

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Mother Russia (2005)

Garth Ennis

Dougie Braithwaite

Punisher is the antithesis of the action hero. He is not handsome, he does not use one-liners, and his personality pure nihilism. Frank Castle is what happens when John Matrix experiences psychological trauma and becomes a creature of instinct whose sole motivation is to kill criminals. He does not care about anything except his purpose and coasts through life looking for people to put his bullets in. Mother Russia, however, explores how Frank would fare as an action hero.

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After a drug pusher who dabbles in child prostitution gets back on the streets, Frank pays him and a dozen bodyguards a visit. After rearranging the pusher’s face with a shotgun, Castle steps out back before the bodyguards rush inside to find the oven gas turned up and a grenade. Finishing off the survivors retreating from the burning house, Colonel Nick Fury greets Frank outside, looking to talk business. Meeting at a local bar, he offers Castle access to national criminal databases in exchange for a favor. Frank accepts and is flown to an Air Force base.

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Castle’s mission is to infiltrate a missile silo and exfiltrate with Galina Stenkov, the daughter of a Russian scientist who developed a virus called Barbarossa. After failing to defect to America, he injected Galina with the virus and the antidote before he was killed. The virus will remain active within the girl for 48 hours and the government wants a sample. While Frank would have the mission well in hand, he is not going alone. The cabal of generals running the show is adamant about sending their man Vanheim from Delta Force as a partner.

After touching down in the frozen wastes, Castle and Vanheim acquire uniforms from soldiers in the local town and make their way to the silo. A few well-placed shots and burst arteries get the two inside before finding Galina in a laboratory. Everything seems fine as they make their way out when Vanheim stumbles upon some idle Russian soldiers and jumps the gun, alerting the whole area to their presence.

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When they retreat underground and fortify their position, the Russian military is notified of the attack. In command of the troops is General Zakharov, an infamous Cold War officer known as the Man of Stone. While his subordinates are convinced the attack is the work of terrorists, Zakharov thinks there is more than meets the eye.

The Man of Stone spares no expense in trying to get in, sending a complement of troops to the facility. While forming up outside the elevator leading to the underground, Frank comes up with an RPG on his shoulder and a pair of machine guns. Taking out a tank he charges into the fray, spraying everyone not him. Mounting the DShK atop the wrecked tank, Castle lays into the remaining soldiers before the weapon jams, and he makes for the exit.

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The heavy loses do not faze Zakharov when he tries to divine the ethnicity of Frank from the survivors. When their testimonies are not enough, the Man of Stone sends more men into the silo through the elevator shaft. While cutting down dozens of repelling soldiers and Vanheim tries to find an exit, Frank is careful to keep Galina away from the carnage. He gives her a file with nuclear go-codes to read and gets her ice cream so she does not leave the safety of the room.

Unbeknownst to Castle, Zakharov sent his silent confidant the Mongolian. The cunning mute sneaks into the silo and makes quick work of Vanheim before taking Galina hostage. Frank rushes to her cries and sees the Mongolian ready to land a killing blow. The two engage in a fierce melee with the mute gaining the upper hand. In the delirium between life and death, Castle sees his little girl holding her bleeding gut as she cries for him. The thought of failing once again inspires him to rise and continue the fight with renewed focus. The Mongolian comes in for a kick, but Frank grabs his ankle, and goes for the kill.

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Meanwhile on the outskirts of Moscow, a hijacked passenger plane is shot down and the generals back in the States congratulate themselves. The room goes quiet when Fury walks in demanding an explanation. When putting together the Barbarossa mission, they were worried a US operation in Russia would cause an international incident if exposed. To counteract the possibility, the generals coordinated with a CIA wet works operator named Rawlins to organize a terrorist strike on Moscow as a distraction.

Fury was not pleased by the notion he was involved in a mission that killed hundreds of innocent people. With a cool stoicism he asks for the individual responsible for organizing the ruse and the generals were quick to oblige. The officers make way as Fury approaches the man and starts beating him with his belt. Reducing him to a bloody shaking mess, Fury chews out the rest of the generals for their stupidity before walking off, hoping Castle will find a way out.

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With Galina safe and Vanheim still unconscious from the Mongolian, Frank makes for the hallway swarming with soldiers. In the midst of slaughter, Vanheim wakes up and pulls a pair of syringes from his pocket. When Castle returns he finds him trying to inject Galina with a yellow substance and subdues him. After a beating Vanheim confesses that the generals ordered him to kill Galina and extract Barbarossa as a last resort. Ever loyal to his morals, Frank is unwilling to sacrifice an innocent and comes up with a new plan.

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Zakharov remains steadfast in his suspicion that Americans are behind the attack on the silo when his staff informs him of a nuclear launch in progress. Major cities are targeted and they receive a message telling Zakharov to pull out his forces or Russia will burn. While his subordinates panic, the Man of Stone stays calm and tells them to do likewise. When an officer disobeys and tries to retaliate, Zakharov executes him on the spot. Once the missile goes airborne and makes for Moscow, it suddenly deactivates midflight, and from its bowels Castle, Galina, and Vanheim jump out with parachutes.

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The three of them make landfall in a blizzard with Vanheim losing his gear on the way down. When they meet, the two draw straws to see who will continue to a Navy submarine on the coast with the one available coat. Galina tucked close to his chest, Frank marches ten miles through the snow as Vanheim trudges behind until death.

Back in the States Castle is confronted by the generals. On the way from Russia, he would not let the doctors touch Galina and the Barbarossa in her body deteriorated. When Frank tries to leave, one general orders his men to stop him and take the girl. Surrounded by soldiers, Fury comes to his side, and the men back off. Just before leaving, Galina begs Castle to take her with him, but he knows he cannot take care of anyone, and she concedes to go with Fury.

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Mother Russia is by far my favorite book of the MAX series. It is full of action, violence, and tons of awesome stuff.  I loved this book so much, I went over my limit of photos to show you how great it is.  The best part was Nick Fury in the only incarnation that matters. If black Fury is Chuck Connors, then white Fury is a hard drinking whore-mongering Clint Eastwood. He swears, he is quick to anger, and does not care about your feelings. The panel of Fury beating the tar out of that general and his dialog throughout is just delightful.

I would go so far as to say he totally outshines Frank, who fits right into the role of an action hero. Usually his nihilism and lack of feeling would make him unfit for the likes of John Matrix and John Rambo, but Castle’s interactions with Galina penetrate his blackened exterior. His fatherly aspects return when he keeps her away from the violence and shields her from the carnage left in his wake. By betraying his cold personality in the presence of Galina, Frank embraces the persona of a hero like he was born to.

For any Punisher fan, Mother Russia is an essential read. Garth Ennis really lets loose while Dougie Braithwaite’s expressive art realizes his vision in beautiful fashion. If there is any book in the MAX series you must have, Mother Russia is without question the best you can hope for.

Editorial 23: Frank Castle, Ubermensch

I think this was the most fun I ever had writing about the Punisher because I equated his psychology to the Superman concept of Fredrick Nietzche, one of my favorite philosophers. Follow the link below if you are interested.

http://thewriterscohort.com/2016/05/frank-castle-ubermensch/

This is also my pseudo-official first post to the Writer’s Cohort as a contributor. Expect about two posts a month in the future. I will be sure to mention them here as well as on the Facebook page I made for all the writing I do on the internet.

https://www.facebook.com/CTs-Work-870763393046519

Enjoy.

Punisher Comics Review 3

Season two of Daredevil heralds the coming of a new incarnation of Frank Castle, the Punisher, played by Jon Bernthal. Since my blog’s inception I have used it to examine the character and express my fandom, but I never talked about the comics that inspired me. And so, I will dedicate a new series of posts to covering my favorite Punisher books.

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Kitchen Irish (2004)

Garth Ennis

Leandro Fernandez

In the Beginning is a jumping off point for multiple stories Ennis would explore across nine more volumes. Not all of them touch on Frank’s character, but they establish and build upon each arc in pieces. The previous story set up a lot and Kitchen Irish is another that introduces a single portion.

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Castle is the kind of man that minds his own business unless a problem gets his attention. While eating in a diner in Hell’s Kitchen, Frank is caught in an explosion from across the street at a pub that kills over a dozen people. As one of the few survivors, he finds himself in the midst of carnage with corpses ripped to shreds and skewered on shards of glass.

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A tip from the cops leads Frank to track down the leader of the Westies, a gang of Irish Americans that once ruled the neighborhood, and owners of the pub that was bombed. Perched on a rooftop Castle has his target Tommy Toner in sight, intent on capturing him for information until he is snatched from the street and taken into a van.

Frank discovers there is more to the bombing when he meets Yorkie, an MI6 buddy from Vietnam with his partner Andy. The attack was the work of Finn Cooley, an IRA bomber known for a scarred visage. Britain wants Cooley in the ground and sent Yorkie to do the job. Seeing as how he cannot officially act on foreign soil, Yorkie would operate via proxy and Castle agrees. At the same time, Andy is on the hunt for Finn’s nephew Peter, who killed his father during the Troubles.

It is not long before Frank finds Finn and Peter in a pub. With a shotgun in hand he paints the rustic establishment in shades of brain matter when other gangsters make the mistake of drawing weapons in the company of the Punisher. Finn and company flee through the back door and walk into an ambush by Yorkie and Andy. Peter is left behind while his uncle escapes.

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After Castle removes a bullet from Peter’s leg with a butterfly knife, the young terrorist spills the beans. The Westies, amateur pirates called River Rats, a thug named Maginty, and Finn are all connected to Old Man Nesbitt, an ancient gangster that hated everyone. Come his passing, the four parties received a letter calling for an end to crime in Hell’s Kitchen in exchange for his fortune of $10 million. Each received a portion of coordinates to the money and it was Toner that wanted everyone to meet at his pub before Finn tried to kill everyone.

To finish off the four parties at once, Frank calls the Westies thinking the others would follow, and organizes a meet on the deck of the Intrepid. When Toner’s crew led by his wife Brenda arrives along with the River Rats and Maginty’s gang, they come under attack by Yorkie and Andy behind an M60, and Castle firing from a Huey. The groups quickly scatter with Maginty losing his followers and the River Rats reduced to the original brother/sister founders. Finn, arriving just after the slaughter began, had the good sense to stay out of it before pulling Brenda from the drink.

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With each gang on the brink of killing each other completely, Maginty and the River Rats meet with Brenda and Finn and come to a compromise. Using their hatred of Nesbitt they decide to share their portion of the coordinates and find it in the bowels of a derelict ship moored in the Hudson. When they head out to pick up the money, Frank is not far behind as he follows them to the location. Not long after entering the ship does Castle and company make their move.

The ensuing firefight turns melee when a grenade drops Frank into the clutches of Finn. The bomber has the upper hand for a moment before Castle tears into Finn’s face with his teeth. Yorkie helps Castle to safety while the gangsters search for Nesbitt’s fortune. When they open a footlocker lying in the water, thinking it contains the money, they find a block of plastic explosives. The ship goes up in flames, leaving Frank and company to swim back to shore. The story ends with Andy getting his revenge by killing Peter.

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Kitchen Irish is the one drag of Punisher MAX. It comes off like a typical gangster story and does not add or take away from the character except for the introduction of Yorkie. Other than that, there is nothing particularly interesting enough warrant consideration.

In many ways the story reminds me of Snatch, a British mob comedy where the characters become involved in a diamond heist with gypsies, boxers, fences that want to be real criminals, and actual criminals that dispose of corpses by feeding them to pigs. That movie was fantastic and it did not let the darker elements keep it from having fun. Kitchen Irish tried that, but the humor felt so out of place it reminded me of the Thomas Jane Punisher film.

However, I think Kitchen Irish had a more personal intent for Ennis. The story is heavy with themes of the Troubles, a 30-year conflict in which insurgent groups in Northern Ireland fought against the British occupation, turning the region into a warzone. It was a conflict that went somewhat unnoticed, but not for the people that lived it like Garth Ennis.

I cannot confirm if he actually experienced the violence, but he obviously has articulate opinions of the whole mess. The most telling is a conversation between Yorkie and Peter. The latter is entrenched in the cause of taking Northern Ireland back from the British. The former, however, does not care in the slightest and is very impersonal about the fighting. He did not care about the ideological underpinnings because it was not important. Yorkie tells Peter ideology is worthless when the enemy does not care about why the other side is fighting. He continues on about how the fighting is meaningless and he should give in to peace.

This is Ennis’s typical anti-war sentiment, but here it felt personal. Born and other Punisher stories feature the same themes, yet they seem written from an outsider’s perspective, like he watched a couple documentaries and was convinced of a “war for profit” conspiracy. Kitchen Irish is the exception because it feels genuine and not written by Michael Moore. That being said, the rest of the story is very underwhelming and boring like Fernandez’s art. If you have seen any gangster movie ever, you have read Kitchen Irish. The introduction of the soon-to-be important Yorkie is not worth it.

Punisher Comics Review 2

Season two of Daredevil heralds the coming of a new incarnation of Frank Castle, the Punisher, played by Jon Bernthal. I think he nailed it in the trailer and I cannot wait till the premiere. Since my blog’s inception I have used it to examine the character and express my fandom, but I never talked about the comics that inspired me. And so, the days leading up to (and beyond) the premiere will be dedicated to my favorite Punisher books.

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In the Beginning (2004)
Garth Ennis
Lewis Larosa

Where do you go with the Punisher after exploring his origin? How do you make an ordinary vigilante character appear fresh? Each of the Death Wish movies is different, but it is always: Paul Kersey has a good life, criminals kill someone close to him, and he becomes Charles Bronson. The formula gets old and the same applies to the Punisher. Rather than continue a standard vigilante narrative, In the Beginning explores the ramifications of Castle embracing the darkness and what means for him as a person.

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30 years after Valley Forge, an old Frank Castle has slaughtered his way to infamy. On the anniversary of his family’s murder he visits their grave before heading out to work. Today is the birthday of a withered mafia don where all the wiseguys in Jersey come to wish him well. Before he could blow out his candles, Castle puts a round in his skull, and lures the wiseguys into a volley of M60 fire.

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While Frank wages his war, a CIA outfit watches his every move. Headed by the arrogant and eager Bethell, the team of would-be agents keeps tabs at the behest of “Micro” Leiberman, Castle’s former partner. At the same time, survivors of the don’s birthday plot to finish him. With manpower low, the mafia brings in Nicky Cavella from exile in Boston. With his crew of Pittsy and Ink, the mafia plans to use Nicky’s brutality and cunning to take out Frank.

On the way to his usual rounds, Castle is confronted by Micro before taking six rubber slugs from a shotgun. Regaining consciousness, he finds himself in a dark room at a table, chained to a chair with Micro on the opposite side. He talks about the times they worked together and how he could not continue the war because there was no end to the crime and terror that feed Frank. Micro alludes to the idea that he embraced the darkness in Vietnam, the taste for murder, and he uses his family’s murder as an excuse to keep killing.

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Then Mirco appeals to whatever shred of humanity he has left and offers him a place in the CIA to hunt America’s enemies. Bethell specializes in repurposing psychopaths for wet work, including Katherine O’Brien who becomes more important later in the MAX series. Micro believes the job will put Castle to better use before he refuses, saying he is finished working for others. He says people always stab you in the back, citing how the government sent 60,000 kids to die in Vietnam for nothing.

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Before Micro could try one last time, Nicky and his crew crashes Bethell’s party. Chaos ensues and in an attempt to rectify the situation, Micro sets Frank loose. After a firefight, Bethell and O’Brien are wounded while Nicky makes it out with a furiously pissed off Pittsy. Castle drives Micro to a weapons cache at a warehouse where Lieberman reveals Bethell gets his money from the heroin trade. Then Frank finds a tracking device in his cellphone and the two prepare for the mafia’s and Bethell’s retaliation.

Taking position on the roof of the warehouse, Castle sprays Wiseguys while Bethell comes in on an attack helicopter, desperate to salvage the situation. Unbeknownst to him, Pittsy sneaks in and knifes Mirco before the two engage in a brutal melee. Pushed to the point of fatigue, Frank takes a risk and tackles him out a window, impaling him on a spiked fence. Even that is not enough when Pittsy pulls himself free and Castle gives him a face full of buckshot.

Unable to convince his prospective recruit, Bethell is thrown out of the helicopter by the pilots under orders from Homeland Security, while Nicky makes his escape. Returning to the warehouse, a dying Micro ponders if Frank is capable of reason. He talks about a story where Castle beat up a neighbor for walking out on his wife after his family’s murder. Micro speculates it means Frank could have been normal until he gave in to the darkness. Micro wonders if he even knows what he is doing now before Castle reaffirms his devotion to the cause and executes him.

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Instead of another vigilante story, In the Beginning adds dimension and character to the Punisher. Frank Castle accepted the darkness and was transformed into a creature of pure instinct, driven by a hunger for killing. It confirms the idea that he is a victim of PTSD and the war-torn environment of Vietnam is where he feels normal. It does not shy away from his mental issues, as Castle is a nihilistic psychopath who does not care about anything except murdering criminals. He casually puts down Mirco, his only friend, because he was involved with Bethell, a heroin dealer. If you are evil, he will do whatever it takes to end you, regardless of the implications.

Ennis does a great job of bringing this out in the character’s voice while Lewis Larosa provides the visual with Frank’s pitch-black eyes and scowled face. The gritty, muddy visuals epitomize this dark story of a man that lives in a world of darkness. The language and subject matter is unflinching and the violence brutal and organic. In the Beginning is a perfect follow up to Born and the starting point of what will become one of the best Punisher storylines ever.

Punisher Comics Review 1

Season two of Daredevil heralds the coming of a new incarnation of Frank Castle, the Punisher, played by Jon Bernthal. I think he nailed it in the trailer and I cannot wait till the premiere. Since my blog’s inception I have used it to examine the character and express my fandom, but I never talked about the comics that inspired me. And so, the days leading up to (and beyond) the premiere will be dedicated to my favorite Punisher books.

* * *

Born (2003)
Garth Ennis
Darick Robertson

There is no denying that war is terrible. People die in the millions (usually), soldiers return home mentally unstable, and countries tear themselves apart. Some argue the Civil War is the worst conflict in American history, but when it comes to cultural stigma and generational trauma, Vietnam makes Antietam look like Grenada.

Thanks to poor planning to solve a problem 20 years in the making (look it up), the Vietnam War was a stain on our country whose effects are still felt today. What could have been a simple resolution turned into a decade long shit-show thanks to General Westmoreland. A generation of young men bore the brunt of this colossal fuck-up in the form of untreated PTSD and an ungrateful American public. And in that chaos and quagmire, Frank Castle was made.

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Told from the perspective of a grunt named Stevie, we follow the exploits of Captain Castle in the Marine Corps at Firebase Valley Forge in 1971, a lone outpost watching Cambodia. Its troops include junkies and degenerates who subsist on heroin, VC scalps, and rape. With a failure of a commanding officer at the helm, Castle maintains patrols and keeps the base running. For three tours the hunger for war kept him coming back, entrenched in the world of Special Forces as he rose to notoriety. At Valley Forge, the war winding down, Castle does whatever he can to sate his thirst.

As the days wear on, Stevie struggles to keep his fellow grunt Angel focused and off the needle. Stevie knows if they stick with Castle, his hunger will keep them alive long enough to make it home. He often reminisces about his future after the war, about all the women he will meet, and the sons that will admire him for his service. For all his naiveté, Stevie does not lie to himself about the situation. He knows the war has brought out the worst in men, some of which are in his platoon.

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Frank knows Valley Forge is just a few calls away from demolition. With the commanding officer barely sober enough to care, the grunts whither and sleep off their final days as Charlie moves in the bush. Frank can have it either way as long as he gets to fight. When an inspecting general proposes closing the base, Castle makes use of his arrogance and lures him into the fire of a VC sniper.

A part of him believes in the concept of righteousness, using the war to deal out justice from behind a gun. When his soldiers fall out of line, he is quick to reprimand them, sometimes fatally. But when Frank struggles to retain what is left of his humanity, his consciousness gets the better of him, reassuring that he is only lying to himself and he can never return to normality. He will always have a taste for battle and the voice offers a war without end.

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Come a heavy storm that prevents the aid of air support, Charlie launches a surprise attack on Valley Forge. With the grunts’ fighting spirit all but gone and the command useless, the only thing standing between the VC and a full take over is Castle and his handful of men. The battle is bloody and long, lasting well into the night as ammunition runs low. Resilient to the end, Stevie struggles to keep Angel in line as he gives into the hopelessness and gets his head blown off.

Stevie then keeps close to Frank, following his lead as Charlie swarms in. In the heat of the moment and by some miracle, air support finally arrives to drop napalm danger-close. Relieved by the incredible save, Stevie is too happy to notice a flaming VC charge him with a bayonet before he gets his wish and boards the jet plane that will take him home forever.

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With the odds drifting out of his favor, the voice hounds Frank for an answer. It questions his resolve, making him consider why he kept coming back to Vietnam, to all the blood, guts, and hate that perpetuated a waking nightmare. The voice offers him a way to survive the onslaught and when he is left with only a shovel to fend off Charlie, Frank gives in. Come the morning, helicopters arrive in search of survivors. Among the charred corpses, the only one left standing is Captain Castle.

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Born is a seminal work that not only explores the failings of the Vietnam War, but also adds dimension to a character that was a one-note vigilante. Equipped with a wealth of knowledge on the subject of war, Garth Ennis crafted a narrative that puts you in the boots of a soldier playing witness to the evolution of an antihero. The apocalyptic atmosphere would not be complete without Darrick Robertson’s detailed and expressive artwork that brings the story to life. The new Punisher may not use the Vietnam origin, but Born is essential to gain insight into how Frank Castle came to be.

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The original four-issue run is collected in Punisher MAX Complete Collection Vol. 1, including the next two stories I mean to review in the near future.

Movie Review: Mockingjay Part 2

In the year and two months I have been a critic, it did not take long before I started beating a lot of dead horses. This year alone I have made the same consecutive points on four different spy movies, two Christian propaganda pieces, three finding your self dramas, and three suspense thrillers. It is to be expected, as all movies are interchangeable with the same stories, premises, and character archetypes. It is the nature of the beast, but I try my best not to repeat myself in each review. And of the movies I have critiqued, there has not been a more bludgeoned steed than that of the Young Adult (YA) genre.

I only reviewed three (four if you count Divergent), but what I have to say I have already gone into excruciating detail. The dystopia settings are metaphors for school, puberty, or childhood; the villains are allegories for adults; and there is always some form of a caste system that reflects a clique or gang. Genre movies tend to stay within their own confines, but YA is adherent to point every movie is near indistinguishable. At that point it becomes a question of quality and of the YA I have seen Hunger Games is the best.

Complaints about the logic of the world aside, the setup is better with its commentary on the nature of television. The examination of classism I disagree with completely, but it makes a reasonable argument unlike many anti-capitalist twerps. Hunger Games’ brand of satire has a lot in common with Robocop with a reality enhanced by extravagant elements. Instead of an apocalyptic Detroit, we have a Huxleyan oligarchy. Cooperate funded crime is replaced by an annual competition where kids kill each other to keep the Districts in line. And rather than a cyborg cop, we have a girl who has PTSD and uses a bow. It is a weird series, but it does YA better than most. Does Mockingjay Part 2 finish on a high note or is it another in a long line of failed conclusions?

As District 13 makes its final march on the Capitol, Katniss, played by Jennifer Lawrence, is sent in on a mission to assassinate President Snow, played by Donald Sutherland. Her will and emotions are put to the test as she loses friends and learns what may come of her actions.

The element of PTSD played a big part throughout the series, but Part 2 makes it the focus, in addition to a commentary on the nature of war. Katniss is visibly withered. She wants to rest and keep out of the remaining conflict, but is bound by her convictions to keep going. Her dedication, however, exacerbates the trauma from the Games. By the end it gets worse with a major death and a very graphic massacre I did not see coming. It plays a key part in Katniss’s development, punctuated by a somber yet bittersweet period of recovery.

Lawrence once again puts her talent on display as she proudly drags the movie by its adolescent balls. She easily steals the show with great attention in the subtly of her voice and expressions. For most of the runtime she is reserved and inconspicuous, hiding her feelings before the war ends and she lets it all out. For an actress who held her own in American Hustle and won an Oscar, I am surprised she brought such talent to a YA series, easily over shadowing her costars in her fantastic performance.

And now onto why Part 2 does not work.

The film was 137 minutes and it felt like 180 thanks to its stalwart adherence to the source material. Based on the pacing and structure I can tell they pulled it right from the book and did not bother adapting it for the screen. Though I have never read a single book in the series, I have studied screenwriting, and I know a poorly edited script when I see it. There are numerous redundancies and wasted screen time with enough content that could have been slashed out and assimilated into Part 1 if the studio cared about quality over quantity.

The biggest redundancy happens at the beginning when Katniss demands she be sent to the Capitol to kill Snow. President Coin, played by Julianne Moore, refuses, but she goes anyway. When she arrives, however, the camera crew from Part 1 is already there and it is mentioned they were sent with the intention of escorting her. If that is the case, why did Coin order her to stay? Is it like a Wicker Man thing where she has to go on her own to make it look genuine? There was no reason for it if Coin intended to send her anyway, using up roughly ten pages’ worth of script.

The main reason for the poor pacing and the intense feeling of a slog is the way it was written. The film plays out like a book with long tangents of people walking in silence, pointless descriptions of things, and digressions that did not need to be there because we already know what is happening. The instances where characters are walking, nothing happens except for some nice displays of scenery. The petty love triangle between Peeta and Gale, played by Josh Hutcherson and Liam Hemsworth, could have been resolved, Katniss’s suspicion of Coin more explored, and her rehabilitation of Peeta accelerated had the characters been talking on the move! Instead they walk for long stretches of time, stop, and talk at length about the plot like the Stars Wars prequels. Information is presented in a way that the movie literally pauses to tell the audience what is going on. And the narrative weight of what happens is muted because all of it was used in Part 1 like Smaug in Battle of the Five Armies.

I could talk about the acting, but it does not matter because Lawrence owns this movie. Sutherland seemed to have fun as the villain and I wish there was more of him. Hutcherson did pretty well shifting between weak-kneed Peeta to brainwashed maniac. Hemsworth… I do not want to be insulting, but the guy should take lessons from his brother. Moore was boring, Woody Harrelson under utilized, and Philip Seymour Hoffman did what he could. I liked Jena Malone, but as with the rest of the supporting cast, she was barely there. It is depressing because those characters are more interesting.

As an ending, Mockingjay Part 2 ties up the series pretty well. Katniss is put through her paces and reaches the peak of her development in a fantastic way thanks to Lawrence’s performance. If the film were easier to sit through I would recommend it on that fact alone. It is an arduous experience that could have been avoided with better writing. If that is something you can stomach, give it a shot, but this is a fans only situation.