Formal Analysis
Throughout millennia, stories have allowed memories, mystical fables, and tall tales to outlive those who conjure them. With the introduction of technologies necessary to create modern digital media, storytelling has expanded to allow visions of alternate universes to unfold before a global audience. Such fictional realities are most often hyperboles of our own, taking what is familiar and expanding upon it. Whether the familiar be general motive of characterization, nuclear family units and societal climates, or technological advancement, the digital age and all that which it encompasses has allowed the imaginative artist and writer to collaborate and immerse their audience in a world beyond words.
The cinematic dynasty and media franchise known as the Marvel Cinematic Universe (MCU) has produced 6 of the top 20 highest-grossing films of all time by capitalizing on the familiar concept of superheroes. Ryan Coogler’s Black Panther, the eighteenth film in the MCU and charting ninth on the list of all-time top-grossing films, is a cinematic paragon of technological advancement that gives the audience a directly correlational perspective of humanity amongst superheroes— by emphasizing the potential of mortals in a world ridden with gods, mutants, and celestial beings. Moreover, his story shows a world of unparalleled technological advancement concealed within a nation thought to be amongst the poorest of the third-world. This all comes together in one scene that combines a human perspective with familiar representation in a world of technology that is a mere hyperbole of what already exists in our world.
In Ryan Coogler’s cinematic paragon of technological advancement,Black Panther, Agent Everett Ross, former Deputy Task Force Commander of the Joint Counter-Terrorist Centre and current CIA operative, is a decorated pilot known for his prolific performance in the Air Force. Despite what impressive accolades these may be, Agent Ross’ credentials still fall short of the desideratum for that of an Avenger within the realm of the Marvel Cinematic Universe. As just another mere mortal in a world of superheroes, his perspective is parallel to that of the audience despite his security clearance.
Agent Ross’ combative disadvantage is not solely that of mere strength, but of understanding the true advancements of technology made possible by the universe’s coveted element: vibranium. This mythical metal makes technological feats of science fiction seem attainable merely by its inclusion in the equation. Wakanda, known to be a struggling third-world nation within Sub-Saharan Africa, is the world’s nonpareil technological superpower — unbeknownst to both Agent Ross and the CIA.
Coogler depicts vibranium as a heightened evolutional component of familiar ideas in our own world: hover-bikes, magnetically levitated trains regulated by sonic-stabilizers, adaptable remote piloting systems. He relates these technologies to what we are familiar with by incorporating the advanced variations of known technologies to phrases in pre-existing vernacular: “It’s just like riding a hoverbike.”
Head of the Science and Information Exchange
At the climactic high-point of the film, Agent Ross must fight alongside the Black Panther and the nation of Wakanda as it is pitted against itself in Civil War over the spread of their technology. Shuri, captializing on Ross’ expertise as an Air Force pilot, introduces Ross to an adaptable remote piloting system previously introduced in the film, allowing cars in distant locations to be operated from the Wakandan technologies laboratory.
The piloting system’s on-board simulator is adaptive to the style of vehicle or aircraft familiar to the pilot — “American Style” for Agent Ross.
This advancement not only shows the adaptability of their modern technology, but also the rudimentariness with which Wakanda sees first-world technological “advancements”. The remote piloting system is first reminiscent of primordial flight simulator amongst the likes of the Tonneau Antoinette— an open-cabin, single-seated cockpit with bi-directional pitch and roll axes controlled by a manual hand-crank. It then evolves to resemble a pilot’s chair with controls that hold a semblance of the Microsoft Flight Simulator that allowed for commercial and privatized use of flight simulation to be accessible by mail-order.
Eventually, Ross is sitting in a vibranium cock-pit, designed in “American Style” as holographic visualizations of the physical aircraft’s surroundings and targeting systems appear around him. A communication device with unlimited-range, previously used to remotely survey Agent Ross’ interrogation of a Wakandan adversary, provides combative direction as the fight progresses. This in-ear combat communication creates the thrilling perspective of virtual air-to-air combat popularized by first-person shooter video game dynasties: Call of Duty and Battlefield.
The scene recreates conditions made familiar by first-person shooters in which the player, through the perspective of their virtual protagonist, is piloting an aircraft by instruction of a remote figure commanding the mission. The character is then tasked with piloting a craft with precision and accuracy as they would attempt to out-fight or out-maneuver an enemy.
Ross’ pursuit of the antagonized Wakandan aircrafts is then met with the dire dilemma of the weapon’s laboratory being attacked by said enemy crafts. Despite the impending danger, Ross continues to persevere in his persistent pursuit. This creates an overwhelming presence of danger for the audience as Ross is now under fire, himself, as his remotely piloted aircraft battles with its own targets.
Without the advancements in technology to allow such graphic effects to be presented on screen, these conditions could not be presented to the viewer with such familiarity yet distinct evolutionary advantages. The world created by Coogler in Black Panther immerses the audience within the MCU, and creates a parallel perspective with which they can relate to the mortal characters. Moreover, Ross represents the first-world in their ignorance of the evolutionary innovations Wakanda has made by utilizing the fabled element of vibranium. By making this element a component of familiar technologies, the audience not only identifies with Agent Ross as a human amongst super-beings, but as a priodial modern-man in a world of unforeseen technological advancement with remnants of familiar constructs.
