Another character was originally a man in the original comic-books, but was changed to be a woman. The character then begs Jones to help her have an abortion, describing how she views the foetus as "a tumour". One of Kilgrave's victims, a young woman who serves as the catalyst for the series, was raped by him while under his control and finds out in a later episode that she's now pregnant. It's not just the relationship between Kilgrave and Jones, either. Who'd think anything of him? That's the kind of intelligent writing that's been sorely lacking from comic-book adaptations of late that willingness to take something from our world and focus it through a prism of comic-book characters. As Jones gets closer and closer to Kilgrave, we see him for what he is - a manipulator, someone who hides in plain sight without fear of retribution because he can.
JESSICA JONES STRENGTH LEVEL SERIES
Sure, X-Men dabbled with it now and then, but no series or film was fully based around that aspect. Women, people of colour, elderly, drug addicts - he picks these people because society is stacked against them and who'd believe them if they said they had their minds warped by a charming Englishman? Not even in the Marvel Universe would people buy that. To have that level of social commentary in a comic-book adaptation is incredible. In fact, Kilgrave regularly targets victims of a certain stripe ones that are marginalised by society. Jessica is regularly talked down to by men because she's a woman and Kilgrave is simply allowed on his way.
Yet, the societal power structures are still evident.
Kilgrave has mind-control abilities and Jessica Jones has super-strength. Of course, this is Marvel and there's a twist.
JESSICA JONES STRENGTH LEVEL FREE
We see Jones, throughout the series, trying to free herself of his psychological grip and the scars that she carries are evident. The two characters had a toxic relationship prior to the series where Kilgrave was manipulative, emotionally abusive and controlling. The series' antagonist is Kilgrave, played wonderfully by David Tennant. There is a real sense of authenticity to how Krysten Ritter plays Jessica Jones. But there's more than just nods and winks to a genre. We regularly see Jones downing bottles of whiskey and skulking around her dingy office, complete with Venetian blinds and a slinky, saxophone soundtrack. Jessica Jones is, from the very outset, a hard-boiled detective noir. Guardians of the Galaxy is a callback to '80s sci-fi adventure comedies. Captain America: The Winter Soldier is a Tom Clancy-esque conspiracy thriller. The previously mentioned Thor, for example, is really just a Shakespearean drama with capes and superpowers. What makes a good comic-book adaptation is how it uses tropes from a specific genre. With the roaring success of Daredevil and its unique - for Marvel, anyway - sense of realism and grittiness, Jessica Jones was slated to be its follow-up. Much like her character, Jessica Jones was an unknown. However, the character's name didn't have the same instant recognition of Iron Man or Captain America.
Just take a look at Jessica Jones.Ī recent addition to the Marvel pantheon, the character was created in 2001 by Brian Michael Bendis and Michael Gaydos and was quickly featured in a number of major storylines. Its television output, meanwhile, has dared to breach boundaries unknown in comic-book adaptations. That, of course, is the case for its cinematic offerings. That's not to say the quality has degraded, but with the Ant-Man debacle (Edgar Wright left the project over creative differences) and Ava DuVernay stepping back from Black Panther (again over creative differences), fans have noted Marvel's reluctance to be as bold and striking as it once was. However, since The Avengers and its billion-dollar box office take, Marvel has had to be more. Just look at Thor, which was directed by noted Shakespearean actor / director Kenneth Branagh or Guardians of the Galaxy, directed by wryly sarcastic James Gunn. By smartly choosing directors that gelled naturally with the material, it made for an engaging cinematic experience. Marvel's initial strategy of choosing left-of-field directors for their properties worked a treat.
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