Tower-ing Fiction #10: The Seven/Vought Tower, The Boys (2019)

Amazon’s recent series The Boys (2019), an adaptation of a comic-book series of the same name, features The Seven Tower (owned by Vought International), a digital creation built to blend in with the New York City skyline while also extending the show’s real-world filming location in Toronto.

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On Comics: Fiona Smyth, "Skin of Fate," in Nocturnal Emissions #3 (1991) & #4 (1992)

Shawn Gilmore examines Canadian comics artist and illustrator Fiona Smyth’s “Skin of Fate,” originally published in her magazine Nocturnal Emissions #3 (1991) and #4 (1992), using the surreal tale as an introduction to some of the shared stylistic and conceptual elements in her work.

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Tower-ing Fiction #9: Glass Tower, The Towering Inferno (1974)

The Glass Tower is the site of the titular inferno in The Towering Inferno (dir. John Guillerman, 1974) and serves as both the site of the film’s blockbuster narrative and as one of the foundational towers of cinema. Constructed as an elaborate nearly 100’ tall model, the Tower is integrated into the film itself, establishing disaster tropes and their visual representations.

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Tower-ing Fiction #8: "Monster Building," Transformers: Age of Extinction (2014), Ghost in the Shell (2017), White Dragon/Strangers (2018)

The so-called “Monster Building,” a popular tourist attraction and recent filming location, is really five high-rise apartment buildings tightly packed together on the western side of Quarry Bay (鰂魚涌) in the Eastern District of Hong Kong, appearing in Western film and television as a metonymic singifier of the dense, chaotic East, while also providing a controlled visual space and shooting location.

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Tower-ing Fiction #7: LexCorp Tower and Wayne Financial, Man of Steel (2013), Batman v Superman: Dawn of Justice (2016)

Interestingly, LexCorp Tower and Wayne Financial are used to the retcon the logic of Man of Steel (dir. Zack Snyder, 2013) in Batman v Superman: Dawn of Justice (dir. Zack Snyder, 2016), serving as the location for only a few scenes, but acting a bridge between the two films and providing a window into the narrative tension and the latter film’s ultimately the revisionist narrative.

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