|
|
Just managed to watch this episode, and I came away thinking it was one of the best superhero stories I've ever seen on TV or in films. The "good fight" line can maybe be justified in the same way as Hiro's black outfit and Peter's Matrix coat ~ these are geeky guys who are now, almost self-consciously, styling themselves as bad-ass muthas in a Dark Future. I think there's an element of play and performance in it... almost a sense of theatre. That's a bit of a stretch as on another level I think the creators are trying, and succeeding admirably, at creating comic book style "cool moments" (just as they're doing very well at reproducing Watchmen's overlapping, ironically juxtaposed captions/voiceover and images). The Sylar/Peter stand-off, with both of them lighting up fists in opposing colours, was as kick-ass as something from Zenith Phase III, which I think is equally self-aware and referential, and whose snappy soundbite dialogue and grandiose splash pages also work both as a knowing tribute to superhero comics convention and fucking great stuff in their own right.
I can't really follow the timeline paradoxes, and probably we're not fully supposed to. I don't know if I much care. It's just totally enjoyable pop.
One thing I don't believe anyone's mentioned: it could be pure trivia, but the paintings in Nikki's strip bar (6.57 timer, for anyone watching on download) look very much like Sylar's painting of the White House at the end of episode 19: the same... I don't know, fauve colours?
They're probably just painted by Tim Sale, and there's probably no connection, but have a look. Or I'll try to screengrab them if I get obsessive. |
|
|