A Marvel comic shows the true face of Britain

Faiza Hussein is the new Captain Britain.

Given the events in Woolwich yesterday – and here I'm speaking less of the horrific murder, and more of the ugly response which followed – it's no surprise that this page, from Avengers Assumble #15AU, has been making the rounds online. In it, Captain Britain, a Marvel hero from the 1970s, relinquishes his title to Dr Faiza Hussain, an Islamic woman of Pakistani heritage. It is all that is right about modern Britain, from English writer Al Ewing (art by Butch Guice, inked by Rick Magyar and Tom Palmer, and coloured by Frank D'Armata):

Hussain was originally introduced to the Marvel universe in 2008 by writer Paul Cornell and artist Leonard Kirk. Cornell, who is most famous for his work on Doctor Who, writing the episodes Father's Day, Human Nature and Family of Blood, was brought in to revamp Captain Britain, who had been languishing in obscurity for over a decade. In the process, he created a rich supporting cast for the dated hero, including Faiza, the viewpoint character for the series. (It also features a shapeshifting alien who thinks he's John Lennon, it's all-round good stuff.)

Speaking about her at the time, Cornell – who is himself a Christian, and is married to a vicar – said:

She's very into mainstream British young woman culture. She's on Facebook, she reads celebrity gossip magazines, but her biggest fan rush is for British superheroes, who also pop up in those magazines. She knows about them all, she had Knights of Pendragon wallpaper when she was a kid (Or insert apt reference for Marvel time)…

I have two aims here: to make her a real person and not someone who has to represent the entire British Muslim world all the time – I think superheroes are too prone to being standard bearers for whole communities – and to make her an everyday religious person who you won't hear anything religious from until it would naturally come up.

Although a critical success, the series was cancelled due to low sales after a little over a year. Captain Britain was used in an Avengers series, but there's been no room for Faiza until now.

Writing on Tumblr, where the issue has taken off since the Woolwich attack, Al Ewing adds:

 

This was a thing I thought up in the shower, just a thing that seemed really obvious. Captain Britain knows he’s going to die, who does he pass the torch to? Faiza. Duh. Honestly, who else would it be? In any circumstances?
 
She’s NHS. Come on.

Sadly, due to the contortions of comics continuity, the issue in which Faiza accepts the mantle of Captain Britain actually exists in an alternate timeline the effects of which have already been undone in the wider series. But don't let that stop you from reading the whole comic; the story of a Muslim woman of Pakistani heritage becoming the living embodiment of all that is British may not be a story which "matters" in the comic's world, but it's certainly one which matters in ours.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.