For Marvel movie viewers who have never read the comics, Clint Barton, a.k.a. Hawkeye, is probably the least-known and under-appreciated of the superhero clique The Avengers. He had barely any development in “The Avengers” (2012), aside from a few witty lines and some badass arrow-slinging stunts. But in the comic series “Hawkeye” (2012-present) -- penned by Matt Fraction and primarily drawn by David Aja and Annie Wu -- Clint Barton is a multidimensional and highly entertaining hero. Chock-full of sizzling action sequences, pop culture references, jokes and phenomenal characters, Fraction’s “Hawkeye” is an excellent reading experience.
First of all, the series is incredibly accessible. Readers need not have read any previous comic incarnations of Hawkeye to appreciate the series, as it has a largely self-sufficient plot. Occasionally other Avengers such as Captain America or Iron Man make an appearance, but for the most part this is Hawkeye’s story. For a series of reasons (mostly irrelevant), there are two people who wear the Hawkeye mantle: Clint Barton and Kate Bishop. Kate Bishop is a motor-mouthed teenage girl who is both Clint’s mentee and confidant, and their sibling-style dynamic is what holds the series together, giving it emotional traction.
So far, the comic has twenty issues out, with the newest -- “Hawkeye #20” -- released on Sept. 10. The series has two real settings: New York City and Los Angeles. To native New Yorkers, the scenes are incredibly familiar. Clint lives in Bedford-Stuyvesant in Brooklyn, and the depictions of life in the city, shown through the use of art and dialogue, are incredibly realistic. Even better, they can be surprisingly accurate.
In “Hawkeye #7” for example, Clint and Kate face Hurricane Sandy, one of their worst villains yet. For anyone who was in New York when the hurricane hit in 2012, the issue is achingly familiar and poignant.
For the first 11 issues, Clint and Kate work together to take down a crime ring in New York City. After a disagreement, Kate goes solo to California to act as an unlicensed private eye in Los Angeles. The 14th, 16th, 18th and the 20th issues feature Kate trying her luck as a quasi-Avenger on her own. Fraction’s writing, while always amusing, provides searing commentary on LA culture.
While the majority of the “Hawkeye” series has been drawn by David Aja, Annie Wu has provided the art for Kate in California in those four issues. Aja is a beautiful artist, almost minimalistic, using serious lines to develop atmosphere rather than specific physical characteristics. Wu is a more cheerful artist and gives every scene and character clear, big expressions. This style is more appropriate for Kate’s story, as the often dramatic young Avenger sees everything in greater detail than her mentor.
Fraction’s “Hawkeye” has also shown the challenges faced by a disabled superhero. In the 18th issue, Clint is deafened by an injury, an homage to the fact that Clint is deaf and wears hearing aids in older comics. The 19th issue is told primarily via sign language, with David Aja providing step-by-step drawings of each word said. In this way “Hawkeye” is transcendent; it shows superheroes as ordinary people but with skills which make them extraordinary. Clint's moral and physical struggles, along with Kate's difficulties balancing newfound adulthood and the desire to help people, prove that the best heroes are just regular people.
Finally, “Hawkeye #20” has an excellent ending, preparing the reader for the conclusion of the series itself, as “Hawkeye #22” will be its last issue. “Hawkeye” has truly been a phenomenal series, bending genres and providing social commentary and laughs for a lesser-known hero. Comic book devotees and casual readers alike can both concede that “Hawkeye” is a must-read series for all those who love a good story.
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