24 April

“Fallen Son: The Death of Captain America”

 

“Fallen Son” is actually a collection of 5 comic book mini-series editions, all written by the amazing Jeph Loeb. Each edition focuses on a stage of human loss, affecting various heroes in the Marvel Comic universe. It deals indirectly with Captain America and his legacy, second-hand through the emotions of teammates and friends.

Loeb is a master storyteller in the comic medium. His Batman graphic novels are widely considered to be the best stories ever committed to the medium. This was followed by an amazing run with the “Superman/Batman” series. You may also be watching Loeb’s television screenplays, if you are a fan of “Smallville”, “Lost” or most notably “Heroes”. His television programming is consistently excellent as well.

After a long DC run, in 2007 Loeb switched over to Marvel and promptly set to work on “Fallen Son”. The series takes place after two key events in the Marvel universe: the year-long “Civil War” saga, and the actual “Death of Captain America” (issues #25-30 of Captain America). Each of the five series chapters is penciled by a different talented artist.

Iron Man leads a government-sponsored crusade to register all super-heroes. All identities must be exposed. Some heroes choose to fall into line and register with the government. Many others (notably Wolverine, Luke Cage and Spider-Man) choose to revolt and go underground, led by Steve Rogers, AKA Captain America.

Towards the end of the “Civil War” series, Captain America surrenders to pro-registration forces. While in custody, Cap is coldly assassinated by a series of gunshots, from afar and at close range. The great Steve Rogers is dead, a Marvel mainstay character for sixty years. Felled not is spectacular fashion, or by combat, but from afar and unexpectedly. It was a bold choice, but one that worked for the character. Parallels are inevitably made with the murders of other great leaders throughout history, also coldly assassinated in similar fashion.

“Fallen Son” is a mediation on the aftermath of this death. The grieving process is explored in its five stages: denial, anger, bargaining, depression and finally acceptance. The book centers this process on members of the New Avengers, including Wolverine and Spider-Man. But many Marvel heroes make appearances, including Cap’s WWII-era  sidekick Bucky Barnes (now known as “Winter Soldier”), Daredevil, The Thing, and former teammate Hawkeye (who turns down the opportunity to continue the legacy of Captain America).

There is a poignant interlude in Dr. Strange’s astral-hidden sanctorum, where heroes gather in their grief and soberly play a game of poker, easing their grief as comrades and friends.  Also midway, an irrational, grieving Spider-man assaulting the Rhino in a graveyard, where it is discovered both are visiting the graves of loved ones lost. Even a ‘super-villain’ can experience pain and loss (And hopefully our compassion).

The conclusion of “Fallen Son” is absolutely an amazing moment in comic history: the funeral of Steve Rogers and tribute to Captain America. Friend and teammate The Falcon delivers a touching eulogy, recounting the legendary exploits of Captain America: during WWII fighting Nazis, and in modern times as an Avenger.

I won’t give away the astonishing, gripping final pages of the series. I will say that it was one of the best epilogues I have ever read in comics. Emotional and poignant, the finale is a perfectly-pitched, fitting tribute to the legend of Captain America.

And I was glad that it included a portion of the original “Silver Age” Avengers team. The best cameo is saved for last: the Sub-Mariner, a classy tip of the hat to fans of the Cap-lead “Invaders” team, and Marvel’s “Golden Age” heroes.

 

18 April

Iron Man #120

"The Old Man and the Sea Prince”

This issue is notable for a classic match-up between Iron Man and Namor, the Sub-Mariner. The battle between two powerhouse heroes, may have originally taken the spotlight. However, this issue introduced a number of themes, much more integral to the Tony Stark character.

Early in the story, industrialist Tony Stark is depicted drinking excessively on an airliner. It’s a curious detour for a major character in the comic universe. We have seen other heroes imbibing now and then, such as Benjamin Grimm’s Thing or even Wolverine, winding down after a battle with a few beers. But Stark’s drinking shows hints of a much darker and damaging problem.

During his fight with Namor, Stark admits frustration at being backstabbed by a friend, Nick Fury of S.H.I.E.L.D. Indeed earlier, the corporate intrigue of running Stark International, seems to gnaw at him, pushing him to seek solace in alcohol. Early in the battle, Tony wishes not having a ‘fourth martini’, and believes the binging may have placed him at a disadvantage against the Sub-Mariner.

Curiously, the Sub-Mariner seems to come out on the losing end of the fight. Writers David Michelinie  and Bob Layton wisely downplay the brute force of the heroes, preferring to emphasize Stark’s clear advantage: superior intelligence. Battling underwater, where Namor is at peak strength and virtually unstoppable, Iron Man quickly finds a way to best his foe. Iron Man superheats the water surrounding Namor, draining his strength. The penciling is typically outstanding, as John Romita Jr. again proves to be one of the era’s most reliable and recognizable artists. Bob Layton also co-contributed to the artwork along with Romita. This era of Iron Man is affectionately remembered by true comic book fans. It is known as the “Bob Layton” era of Iron Man, and it is the most popular and acclaimed stories the character would be a part of (until a current resurgence in Marvel’s “Civil War” series).

Issue #120 also introduces Justin Hammer, which is a most important element in the Iron Man story. Hammer is a reserved but ruthless billionaire industrialist, the antithesis of the outgoing Tony Stark. The Hammer character was one long overdue in the Marvel universe. There are parallels in other media, to the ‘rich yet evil foe’, such as the numerous Bond film villains. Heroes such as Supeman and Captain Marvel had arch-foes of the sort, such as Lex Luthor and Dr. Silvana, respectively. It was time for a Marvel hero to encounter a more complex villain, one that was ruthless yet reclusive, with deep pockets and a serious commitment to chaos.

In later issues, Hammer would be revealed to have bankrolled technology used to combat Iron Man. Many of Iron Man’s foes would wield weapons, inventions and armor that had been created via Hammer’s corporations. Beginning with issue #120, Hammer even devised ways to sabotage Iron Man’s computer circuitry and weaponry.

Justin Hammer eventually became a greater enemy to Tony Stark, much more so than Iron Man. A touch of interesting trivia: the character was visually modeled after the great British actor Peter Cushing and the films of ‘Hammer’ studios.

Iron Man #120 is a worthy issue to check out. It’s the groundwork for the journey of self-discovery for Tony Stark. The introduction of Justin Hammer is a precursor to another major corporate adversary for Stark, Obidiah Stane. With issue #120, the real enemies attack Tony from within, psychologically and via corporate intrigue. Eventually, Stark loses his company, becomes a raging alcoholic, and even loses his persona of Iron Man. It was a highly original turn for a major Marvel character. Loyal readers of Iron Man began to root for the redemption of the man behind the mask. The character arc hits a turning point in issue #120. A formulaic battle with another Marvel hero just serves as the drawing card, to lure you in. But the real battle for Tony Stark is only beginning: fighting himself and his own personal demons. Stark’s alcoholism would progress over the next eight issues (a groundbreaking storyline now known as the classic “Demon In a Bottle” epic). Check out issue #120 to see how it all began.

11 April

Fantastic Four #236

Triple-sized 20th Anniversary issue “Terror in a Tiny Town”

This is one of my all time favorite comic book stories, of any super-hero title. Acclaimed Writer/Artist John Byrne really pulls out all the stops here. The Fantastic Four of the late seventies, early eighties was not Marvel’s top selling title. In fact, the series was on the wane and experiencing very poor circulation. Comic book fans had moved onto ‘edgier’ titles such as X-Men and Daredevil.  The only thing keeping FF from cancellation was that the title nostalgically signaled Marvel’s silver age renaissance. The FF was the first super-heroes to bust out of the Marvel think-tank in the early sixties.

What was needed for the moribund series was a new voice, and Byrne was the logical choice. He had greatly contributed to perhaps the greatest arc of comic-book history: the X-Men. Byrne had penciled, with Chris Claremont writing, the now classic Hellfire Club/Dark Phoenix saga. It would be the perfect opportunity for Byrne. Marvel’s rising star, to take on both hats as writer and artist, and reinvigorate the flagship title.

After X-Men, Byrne the artist was paired with writer Roger Stern for thirty issues of Captain America.  Byrne  then eased his way into the FF franchise, by first handling only the art in various issues up until #231. After this however, with issue #232, Byrne was given his chance to solely helm, draw and write the title. His five year FF run began with issue #232 (and ended with issue #293).

Issue #236 was special however, the 20-year anniversary of the book. It was clearly designed by Byrne to stand on its own, apart from the general ongoing storyline of the characters. The story opens with the origin of the FF, bombarded with cosmic radiation during space travel. The surprising twist is that the origin story is suddenly interrupted, and we see that it is just a nightmare that Johnny Storm is having. Then the strange, Twilight Zone-like tale begins to unfold. Johnny visits with his small town in-laws, Reed and Sue. The Richards live in a modest suburban home, with Sue the typical housewife and Reed the bread-winning college professor. Johnny then passes by the local tavern, where he stops to chat with it’s proprietor Benjamin Grimm.

All four individuals experience the same vivid dream: the spaceship, cosmic radiation, and the powerful beings they evolve into. Almost driven to the point of madness, Reed somehow deduces that the four are indeed heroes. That somehow, their conscious minds have been transported into lifelike robotic copies. And that they have been reprogrammed, to believe they had always existed in the small town of Liddleville.
Structured like a three-act play, the end of the first arc occurs when Reed cuts himself and verifies the blood in his veins is synthetic. The four come to the same conclusion as Reed, when suddenly the master orchestrator of the plot bellows from above… a giant Doctor Doom, grey mask overshadowing the whole town from above.

The dream-like aura of the first chapter gives way to the sheer intelligence of the next. The FF’s bodies are revealed to be in suspended animation, their minds transported into tiny lifelike robots. Doom stands above the real bodies, mocking and triumphant.

Byrne introduces a moment of regret, as Ben Grimm mourns his Liddleville existence, one of human normalcy. Married to Alicia Masters, who in this world is not blind, Ben is happy and content. He knows what awaits him if he returns to his real persona: a freak existence as the rock-hided Thing. There is a touching interlude where Ben and Alicia agree that their love can survive their physical deformities, and that the true world desperately needs the Thing.

The final act begins with a determined team on a mission to escape Liddleville and defeat their arch-foe Dr. Doom. Of course, the miniature FF finds a way to break out of the town border, as the terrain changes to Doom’s cold, metallic lair. Reed uses his wits to return the four’s conscious minds to their original bodies, and defeat Doom on his own turf. There is an interesting comeuppance for Doom, as his conscious is in turn transported back into a resident of Liddleville, where he remains trapped.

Issue #236 was a fresh take on an old franchise. It was a great way for new readers to soak in the origin of the characters, the family relationship of the heroes, and the dread of facing their greatest villain: all in one over-sized issue. The anniversary issue was a bold choice for Byrne, coming so soon after he was given carte blanche with Marvel’s first comic book. The issue signified a ‘rebooting’ of the group, and is widely regarded as the title’s greatest literary run.

Byrne would go on to change the dynamics of the group: replacing the Thing with She-Hulk, expanding Sue Richard’s powers to greater levels, creating an illicit romance between Johnny Storm and Alicia Masters. Issue #236 is the start of exciting stories to come, and to celebrate the ground-breaking characters’ twenty years of existence.

 

 

2 April

X-Men #56-57

“What is…the Power?”
“Mission: Murder!”

These are the first issues of the Neal Adams X-Men run. For X-Men enthusiasts, these are cult classics, and contain the seeds of the enormously successful second run of the series.  Writer Roy Thomas introduces the dominant theme of the X-Men series: mutant persecution. The early innocence and of the X-Men series suddenly evolves into more complex themes of bigotry.

You can almost pinpoint the exact moment that the series begins to transform. In issue #56, the team battles a standard foe, the Pharaoh.  The battle is typical cartoon-style, with few variations in 60’s simple style.

The notable elements of issue #56 would be the exploration of a new mutant character, Alex Summers. Actually introduced two issues earlier, Cyclops’ brother would eventually become a significant player in the X universe. At this stage, his power is mysterious, uncontrollable, and potentially limitless. Havok’s cosmic radiation power is also linked with the Pharaoh. As Alex increases in energy, the Pharaoh wanes, and vice versa. When Havok is subdued, with powers in check, the Pharaoh evolves into a new, more deadly enemy, the Living Monolith.

The 2nd part of the story, in issue #57, contains the larger X-Men themes. Sentinels have returned, to kidnap and contain various mutants. The seeds for the mutant persecution themes had been introduced, briefly, as far back as X-Men #14 (when the Sentinels first appeared). In issue #57, Thomas expands their extermination protocols. There is an added twist to the end of the tale, as the son of the Sentinel’s creator, Larry Trask, is revealed to be a clairvoyant mutant himself.

Finally, the team outwits the Sentinels with logic, rather than brute force, and sends their robotic foes on a suicide mission to the heart of the sun.  The Thomas/Adams era X-Men run was just way too “ahead of its time”. Comic readers had not yet become as literary as they are today. The complex stories of mutant persecution, similar to late sixties’ prevalence of racial and gender bias, might very well have been lost to the era’s readers.

Neal Adam’s intricate penciling was also in contrast to the simple cartoon artistry of other books at the time.

The detail to human physique is striking, and Adams used new strange angles to view his heroes. Check out Adam’s use of extreme facial close-ups, eyeballs, beads of sweat, and expressions of fear and brows of anger. The panels themselves are no longer exclusively square in shape, and solely desigfned left-to-right. Adams even boldly takes his heroes out of the panels, crossing the boundaries in his frames. Such as an Avenging Angel with spread wingspan, placed in front of two rectangular frames. It is as if the characters are flying off the page.

The boldness and freshness of the Thomas/Adams era was not enough to save the first X-Men run. The series was soon cancelled (somewhat, the issues continued reprinting older, previously-published stories).

Any true fan of the wildly popular X-Men universe, from the series reboot with Giant X-Men #1, can clearly see the seeds of greatness began during the Thomas/Adams era. Chris Claremont, Dave Cockrun and John Byrne simply continued to expand on the characters and themes introduced in the Adams era.

24 March

Amazing Spider-Man #121-122

Death of Gwen Stacy, death of the original Green Goblin: Norman Osbourne.
It was the beginning of Spidey's “bronze era” storylines.  The foundation of the character had been firmly established by Stan Lee and artists Steve Ditko and John Romita. To push forward and shake things up, some major character development needed to occur. It was a bold and risky move for a Marvel franchise product. The authors of Spidey’s new direction were Lee, Gerry Conway and Gil Kane.

It all began with the tragic death of Captain George Stacy, who was a major character in the evolution of our hero, and the father of Peter Parker's love interest Gwen.  Unexpectedly, Captain Stacy dies in issue #90, heroically saving a child during a battle between Spidey and Dr. Octopus.

Stacy, in his dying breath, acknowledged what fans always suspected: that he was aware of the web slinger’s secret identity. The death hit our hero very hard (Stacy was a father figure to Peter). The next few issues after the death, Stan Lee explored Peter's guilt, Gwen's anger and resentment towards Spider-Man. This arc provides a nice window into the nature of loss, personal responsibility, and our hero's complicated 'civilian' relationship.

The next few months see the further development of the hero: the colliding worlds of both Peter Parker and his alter-ego Spider-Man.  Parker himself matured, from the original nerdy prototype in the Ditko era.  Gwen Stacy’s role as girlfriend to Peter Parker seemed to be assured, especially after the dramatic death of her father, and the identity reveal. Captain Stacy approved of the union, asnd so did the fans.
And so when issue #121 hit the stands, there was complete disbelief at the last few panels, the morbid death of Gwen Stacy at the hands of Spider-Man’s greatest enemy: the Green Goblin.  The unsettling final moments of Gwen are burned into the memory of every Spider-Man fan to this day: The Goblin hurling her from atop the George Washington bridge, Spidey falsely believing he saves her with a last-second fling of his web, the snapping of a falling Gwen Stacy’s neck.
It was unusual in the personal nature of the crime. Each combatant knew the other’s secret identity.  Most fans thought that the Goblin, the epitome of evil, disconnected from the act of murder, would soon experience his comeuppance. But no one thought it would take the form of his death as well, in the very next issue.
Issue #122 was even more revolutionary for the time. Gerry Conway was killing off the Marvel version of a Lex Luthor or Joker. The ultimate marvel villain was about to meet his grisly fate. It was absolutely riveting, coming so soon after the Gwen Stacy death. Fans of the comic were shell shocked.

The story itself had great moments in-between. There was a brief sequence foreshadowing the insanity of the next Goblin, Harry Osbourne. The story made clear Harry’s demented condition, the result of LSD abuse, and his lonely state of existence. There was also the inevitable J. Jonah Jameson cameo, with all bluster and accusations.
The book saved the shocker about three-quarters through: The Green Goblin impaling himself on his own rocket glider, and a hint of menace still remaining…with a shadowy figure observing the battle and death.

The near-perfect story arc, then received a fitting epilogue: with a grieving Parker consoling himself in the presence of his future lover Mary Jane Watson. Her loyalty and gracefulness are evident through each frame. A new love interest for Peter Parker seems to be establishing itself. And in two quick successive issues, Conway and Kane transition the Spidey/Parker character into his present day state.

Two major characters extinguished in back-to-back issues!  Many years later, it was revealed that Osbourne was having an affair, and fathered children with Gwen Stacy. This would explain the personal antagonism of the murder. It may or may not fit neatly into the Spidey universe narrative. But at the time issues #121-122 were released, it was a very jarring 1-2 punch for young readers.

18 March

Fantastic Four #48-50
"The Coming of Galactus'
Lee/Kirby

First, let me begin by explaining just how pivotal the early Fantastic Four stories were to the comic universe as we know it. Sure, the resurgence of heroes during the Silver Age is well documented. but many titles simply reflected a somewhat standard paradigm: the rogues gallery of villains, the Earth-based action and occasional extraterrestial threat. There are others heroes born of the cosmos, such as Superman or Green Lantern, but early FF helped comics make the leap into the space age. Our heroes were created in space, and were able to revisit this canvas.

The Fantastic Four foretold the space age, and the perils of exploring that Pandora's box.

The cast of supporting characters in early FF books were not simply good vs. evil. They were grey characters, neutral characters… those that could be swayed to either side. Even Galactus himself is somewhat sympathetic. He consumes worlds because he must…  He merely plays a part in the universe’s "natural order of things".

As for issues #48-50… What more can you ask for in a classic comic book?

The story hits the ground running from a previous arc, featuring Black bolt and the Inhumans. Granted, the Lee-penciled panels are wordy and busy, a regrettable by-product of the Silver Age style, but Kirby gets in (whenever he can) his trademark angular face screams, and plenty of 'raw cosmic power' explosions.

The Inhumans alone would make the story worthwhile, including the budding romance of Johnny Storm and Crystal, however, issue #48 is a comic milestone for the introduction of two other Lee/Kirby creations: the Silver Surfer and Galactus.

The early Surfer is introduced, riding cosmic waves on an old 'fin style' surfboard, posing like the surfers of the day, looking  more at home in Maui than zooming past an asteroid belt.

The story does has some Marvel-universe inconsistencies. The Watcher makes a very active appearance in the narrative, but as an active participant and not simply an observer. In the future, comic fanatics will grow more accustomed to the (mostly) silent and regal Watcher periphery appearances (check out X-Men #147, "Death of Phoneix" for example).

There is also a curious lack of additional hero cross-over, considering the sheer volume of Silver Age, NYC-based Marvel characters. Perhaps the Avengers were out of town, the day that the skies burned and Galactus arrives… Present-day comicdom would be unable to resist the temptation for numerous super-hero cameos and the episodic nature of the story.

The intoduction to Galactus however, is nearly flawless.

Saved for the last panel, it is a Kirby-esque visual tour-de-force. Skirts, wristbands, and abstract-like headgear galore. other-worldly character stylization that would become fully realized in Kirby's New Gods series. Perhaps the only Visual snafu on Galactus, being the descriptive and unnecessary "G" chest symbol, more of an era requirement, soon abandoned in future appearances.

We must dismiss the absurdity of Galactus choosing the Baxter Building as his Ground Zero for his world-eating apparatus, or the Torch remaining ablaze in the oxygen-less vastness of space. These are small sidenotes in the overall saga. The true focus always concerned the Surfer's dilemma: his struggle to regain his humanity.  This is the satisfying centerpiece of the arc.

Golden and Silver Age tales are rife with "maguffins", objects of power capable of influencing plot outcomes. And so Galactus is no exception. Like kryponite, yellow light, and cosmic cubes, Galactus has his "achilles heel" : the "Ultimate Nullifier". Certainly, it is a lazy ending to a proud first appearance. But the arc is soon redeemed with the classic banishment of the Surfer to Earth.

The final pages of issue #50 were instantly forgettable. I barely glanced at them years ago, and probably could not again today. Something about Johnny Storm going to college. The FF were a family with no secret identities or masks. Attempts at establishing separate character stories, did not really click with readers. This story arc however, will always be fondly remembered for the new characters it introduced. Lee wisely permits the new characters to enter the Marvel Universe in explosive fashion. He adds classic Silver Age angst and shifting adversary motivations. There is character development, romantic elements for Ben Grimm and Johnny Storm. Lastly, he chooses to withhold the true origins of the new creations: the Silver Surfer and Galactus. Lee knows full well that the characters are a slam-dunk, that fans will be salivating for return appearances, where perhaps all will be explained.