My favorite run of Daredevil

Frank Miller defined Daredevil. . .

. . . and with Mazzucchelli broke him down and redefined him. 

Kevin Smith revived him. 

Mark Waid, arguably, did the same. 

Seminal runs, all. 

That stated, my favorite run on Daredevil was by Ann Nocenti, John Romita, Jr., and Al Williamson: issues 250-282. There's a fair bit of nostalgia attached to that run -- this was early in my time as a comic reader/collector and shortly after the point where I started buying Daredevil regularly -- but, for me, this run stands the test of time and is a collection of comics that I can return to and enjoy, without fail. I love this run! 

But what is it about this run that stands out for me? (Especially, as I learned on a recent episode of CGS, when there is an apparent backlash against it from DD fans). 

Plenty! 

First and foremost, the art from JRJr & Williamson really stands out in this run of comics. I am a fan of Romita Jr. -- especially when he's drawing Spider-Man . . . or ol' Hornhead -- and his dynamism is on full display in these comics. Williamson, a classic comic artist in his own right, adds another dimension to Romita Jr.'s art. Williamson's slick linework softens the characters, while also adding more depth to the imagery through his use of blacks. It's a matter of two artists I love collaborating to craft artwork that is beyond what either have done on their own. There's a litheness to the figure of Daredevil that comes from Williamson's inks, while still retaining the physicality epitomized by Romita Jr.'s pencils. 

This art team also innovates: delineating new characters like Number Nine, Bullet, Blackheart, and most notably, Typhoid Mary, while also crafting a Mephisto the likes of which had never seen, before or since. The excess bulk of Mephisto, as drawn by Romita Jr. & Williamson, with a face unrecognizable to what readers were accustomed, and stringy hair(?) cascading from his head and arms, is overwhelming and otherworldly, befitting the demon lord of Hell in the Marvel universe. The grotesqueness of this iteration of Mephisto adds to the unsettled feeling we, as readers, should experience whenever this character enters a story. It's inspired and ugly and wonderful, all at once. 

Equally important to me in this run is the writing of Ann Nocenti. Nocenti followed the classic (and my all-time favorite superhero story) "Born Again," by Frank Miller & David Mazzucchelli. She smartly opted to take the character in a different direction, getting back to DD's superheroic roots, rather than trying to play in the noir setting that Miller, with the likes of Klaus Janson & Mazzucchelli, so artfully exploited. It was a wise decision on Nocenti's part, which does not mean it's all spandex, purple-and-green clad villains, and biff, bam, pow! Nocenti is anything but a safe, traditional comic creator. 

Nocenti brings a quirky sensibility to everything she writes, and being someone who entered comics from outside the field, she was not hampered by a decades-long reverence to these heroes, like many of the fans turned creators have. Nocenti infused her run on Daredevil with social commentary, tackling gun violence and sexism, while also creating characters like Blackheart and Typhoid Mary. She utilized the Inhumans -- lesser-known ones, Gorgon and Karnak -- as companions for Daredevil, as she took him out of New York, putting even more distance between her run and previous iterations of the character. There are some wonderful stories during DD's road trip, and in the end he finds he must confront Mephisto in the demon's realm, as the lord of Hell and his lackey, Blackheart, have been harassing and haranguing Daredevil throughout much of this run. Daredevil descends to Hell and battles hordes of demons, trying to keep alit the torch he has carried through the snows unleashed by Mephisto. DD laments what his life is, "endless fighting," and wonders if he can change. He asks himself: "What if I just stopped? If I just stopped fighting. If you stop fighting, isn't the fight over?" This sequence emblazoned this Daredevil run on my heart as a favorite, and it has only risen, in my estimation, through the years. 

Oh, and he also gets a helping hand from the Silver Surfer, with Nocenti doing her best Matt Fraction captions years before Fraction was lauded for his quick, sharp descriptive phrases. Just glorious!

This run was unconventional, even while returning DD to his roots as a superhero, with engaging characters, influences from outside of comics, and lovely art that hit me at just the right time in my comic-reading life. And it is a run that I have enjoyed many times since. It's the quirkiness -- grounded in good writing and good character work, along with character defining art from Romita Jr. & Williamson -- that appeals to me most about this collection of issues. 

They're fantastic!
Or amazing!
Or, possibly, uncanny!
Regardless, I think they're great. 

-chris

A Fistful of Daredevil stories

Conceived and used with the permission of Matthew Constantine and Brad Gullickson, the original dorks.

Everyone has a “Top 5.”  But Brad and Matt, choosing to walk a different path, amended that to “A Fistful…” over at their blog, In the Mouth of Dorkness.  A film-centric blog where they also discuss comics and books and TV, these two regularly share their top 5, ranging from “Heroic Kids” to “Spies” to “Summer Movies” to “Punches” to all things in between.  Always fun, often insightful, and something I hope to regularly pilfer for Warrior27.  As they say:  If you’re going to steal, steal from those you know relatively well, who will not sue you.

And with the new Daredevil series from Netflix hitting soon, I thought it appropriate to look at some of Hornhead's seminal comic stories.  

5.          Daredevil #191 by Frank Miller & Terry Austin



The final issue of Frank Miller’s first run on Daredevil – the run that put Miller on the map and made Daredevil relevant again (if, for argument’s sake, he’d been truly relevant before).  Having finally come to terms with the fact that Elektra, his one true love, is dead, Matt Murdock visits her killer, Bullseye.  Paralyzed, in a hospital bed, unable to defend himself, Bullseye is forced to play a game of Russian Roulette with Daredevil, as DD ruminates on the hell his life has become, each click of an empty chamber moving them closer to a final, fatal end.  It’s a powerful issue – the issue that stands out most, to me, from Miller’s seminal run, even with Elektra’s death in #181 – made all the more significant with Miller returning to full pencils and inked by Terry Austin rather than Klaus Janson, whose work graced the rest of Miller’s run.  Austin’s inks lend a weight and atmosphere to this story that might have been lost in the more graceful brushstrokes of Janson.  It is an intense story that melds art and narrative wonderfully, all happening in a darkened hospital room with a paralyzed villain (and, one could argue, a mentally paralyzed hero), wherein no “action” actually occurs.  Great issue.

4.          Daredevil: Wake Up by Brian Michael Bendis & David Mack



Issues 16-19 of the Marvel Knights reboot, this was the debut of Bendis writing the character that propelled him to the “top of the heap.”  This four-part story follows a young boy, the son of a D-list villain, Leap-Frog, and examines how he deals with the trauma of watching his dad beaten by Daredevil on TV.  It’s a heartbreaking tale, made more poignant by the lush artwork of Mack, whose mixed media art is always beautiful.  With spot work from Joe Quesada – delineating the action fantasies of the young boy – this story has it all:  pathos, superheroes, supervillains, mystery, action, and an ending that will tug at your heartstrings. 

3.          Daredevil goes to Hell (roughly issues 278-282 of the original series) by Ann Nocenti, John Romita Jr., and Al Williamson



I was introduced to Daredevil through the Nocenti/JRJr/Williamson run, which began a bit before issue 250 of the original series.  Throughout this run, Mephisto and his creation, Blackheart, were ever present on the fringes of Daredevil’s world, occasionally becoming directly involved with ol’ Hornhead.  Eventually, though, Daredevil realizes he must take the fight to Mephisto, and he enters hell to do battle with the dark lord of that realm.  This story is at times deep and thoughtful, and at others quirky and whimsical, a hallmark of Nocenti’s writing style.  She did things, narratively within a comic, a decade or more before other prominent writers would – and it is fantastic.  Battling through hordes of demons, Daredevil is relentless and unforgiving, eventually coming to the end of his rope (a theme that reverberates throughout DD’s history as a character).  But, at the point where all seems lost, Daredevil has a revelation – in order for there to be a fight, or a battle, there must be two sides contending with one another.  If you stop fighting…the fight is over. 
Sure, that’s a hokey idea, and not one that would help you in real life.  But this isn’t real life, this is comics, and Nocenti, et al. understand this very well.  One of my favorite stories ever.

2.          Daredevil: Love & War by Frank Miller & Bill Sienkiewicz



Daredevil versus the Kingpin, with Vanessa Fisk, the Kingpin’s wife, stuck in the middle.  With some of the most beautiful art to grace a comic, this short story also includes one of the most heartbreaking scenes I’ve read in a comic, and it relates to the dashed hopes of the Kingpin – no simple feat.  Sienkiewicz brings his signature style to bear, veering into the impressionistic at times, particularly with the Kingpin, in a way that better defines characters rather than muddling the narrative.  Published in 1986, arguably Miller’s peak, this is one that has stuck with me for a long time.

1.          Daredevil: Born Again by Frank Miller & David Mazzucchellli



My favorite superhero story of all time, bar none.  In his first run, Miller helped pull Daredevil out of the camp of previous decades into a grittier, if still whimsical, present of 1979.  With Born Again, Miller, along with Mazzucchelli, dragged DD into the gutters of Hell’s Kitchen and left the whimsy behind.  A classic story of a hero brought low by those who love him and left for dead, only to extricate himself and return to rediscover his purpose.  At its core, this certainly is an old story.  But in its telling, Miller & Mazzucchelli transcend the comic medium with a tour-de-force collaboration nearly unmatched in “cape comics,” while providing a narrative that could rest its spine next to Chandler and Hammett.  Sure, I’m biased, but it’s just that good.  And the art by Mazzucchelli is some of the most beautiful, traditional linework to be found in a comic, ever.  His art is uncluttered, elegant in a way that lends itself well to Daredevil’s martial arts training, while infused with a cartoonish approach that enhances the story in subtle ways.  I love this book and re-read it on a regular basis.  If you need one Daredevil story to familiarize yourself with the character, this is the one.

-chris

INTRODUCING MYSELF TO MARK MILLAR - part 2

Wolverine, Agent of … S.H.I.E.L.D by Mark Millar & John Romita, Jr. (volume 2 of the “Enemy of the State” arc)

So, I decided to introduce myself to the work of Mark Millar and dove in with the twelve-part Wolverine story, “Enemy of the State.” My thoughts on the first volume, which collects issues 20-25 (chapters 1-6), can be found here.

As for the conclusion of this epic narrative – there were a couple of bright spots, but for the most part, I am happy to know that I don’t ever have to read this again. It is entirely possible that this is a great Wolverine story, but for me, it’s just a bunch of hackwork lacking any real drama, with hyperbole and bombast substituting for characterization and narrative inventiveness. It’s basically one long fight scene with no consequences at all.

The collection opens with Gorgon’s introduction to the Hand followed by Northstar’s extrication (or at least that of his corpse) by a now-re-resurrected and villainous Elektra (a scene that lacked any punch, whatsoever) before entering a virtual reality simulation being used to rehabilitate Wolverine – though readers are unaware of the VR aspect until we hit the climax of the scene. The rehabilitation scene is pretty good, a nice feint put forth by Millar & JRJr, but once Nick Fury bites it, it is obvious something isn’t right.

Dr. Weinberg intrudes on Wolverine’s killing spree in this simulation – explaining that SHIELD is running these simulations to make him burn out the Hydra programming – and it makes some kind of sense. I also found it to be inventive on Millar’s part – until he found it necessary to let us in on how serious this plan is by having the doctor spout off on how it would only take “another half a million simulations” to get Wolverine deprogrammed. When it’s revealed, on the next page, that those 500,000 simulations will take place over the course of just 12-18 hours, I was completely taken out of the story. If you do the math, that’s almost 8 simulations a second. Sure, comics are supposed to fall somewhere outside the realms of believability (they fly and regenerate and have superpowers, etc. etc.), but when you go too far, the narrative just crumbles to nothing. And this seems to be Millar’s style – push it too far, then go ten times farther, and try to mask it all with his hype machine. Maybe I’m being too harsh. And maybe I’m not.

Millar then pulls me out again when he has Wolverine discussing how many Hydra, Hand, and Dawn of the White Light agents are out there. The total he arrives at is 52,000. And is he going to take them all out by himself? “Bingo,” says Wolverine.

Now, I get that this is the character – he has a trail of bravado and ego and testosterone oozing behind him wherever he goes; he’s animalistic and he doesn’t stop, not for anything, least of all overwhelming odds – I get that. But, for me personally, that bravado act doesn’t resonate. It doesn’t work for me. Remarks like this come across as farcical rather than “tough,” and maybe this explains why I’m not much of a Wolverine fan.

Or maybe I need him toned down just a bit, in order to accept him. I appreciated the character of honor who came out of the Claremont/Miller mini-series back in the early eighties, the one who, at any moment, could go off on a berserker rage. That he had to work to hold in that animal instinct made for drama and provided conflict within the character. But when there’s no longer anything to limit him, and Wolverine is just killing non-stop, the volume turned up to 11 the whole way through, the drama is sucked out of the narrative because there is nothing to counterbalance the crazed fighting. Without any real quiet moments, the big moments have nothing to play off of.

This is a similar problem I have with the event-driven publishing mandates from DC and Marvel these past few years. Civil War rolls into Secret Invasion pours into Dark Reign and seeps into Siege, and there’s no opportunity for readers to stop and catch their breaths. And, at some point, one just burns out on this downhill race. Like a rollercoaster, the anticipation during that long, slow climb up the track, makes the rush down the other side that much more exciting.

Another glimmer of narrative ingenuity comes with Elektra’s double-cross of the Hand, which was well handled and made sense. If the Hand has resurrected her once, Elektra would obviously have a better knowledge of how to circumvent their brainwashing this second time. But, again, the fact that her actions – the killing of 200 SHIELD agents when she was part of the re-animated superpowered beings who attacked the helicarrier – are dismissed because she was under “very deep cover” just rips me out of the story. If these characters have carte blanche, then why does it matter? They have no dramatic choices to make. There’s no need for them to be heroic (and yes, I know Wolverine is an “anti-hero”). They can run their sais and their claws straight through whatever phalanx of characters stands in their way, and it doesn’t mean a damn thing.

And if it doesn’t mean a damn thing, why should I care?

Now, regardless of how poorly written I think this whole journey has been – and, for me, the journey of a narrative is important – the climax of this storyline is brilliant in its simplicity. Wolverine, like Perseus in the myths of old, reflects the Gorgon’s gaze back at him with his claws, turning the Gorgon to stone, as he has done to so many others. I applaud Millar for this bit of narrative creativity, but only wish that he wouldn’t have dragged out the story so long for such a brief moment of appreciation.

There’s a part of me that can almost understand why this story is so well regarded. But I can’t get past the fact that I feel it is terribly flawed. I’ve brought it up a number of times in these two pieces about the book, but Millar never lets up. This is one long fight comic with little in the way of substance. Millar thinks drama is achieved by heaping more “shit onto the pile” – i.e. the exaggerated amounts of enhancements Wolverine and the others who get reanimated receive from Hydra; it felt like a kid’s game where your buddy shoots you with a bazooka, but you claim to now have a missile launcher plus super-armor so you win, except that he now has a force-field and a mult-laser projectile weapon and trumps your “upgrade,” etc. etc. It all felt ludicrous, and there was never a chance for Millar to develop any dramatic tension naturally within the context of the story.

Greg Rucka recently wrote about honesty in storytelling. I didn’t get that from this story. All I got was a lot of (unwanted) style and flash in lieu of substance. And that’s probably the biggest problem I have with “Enemy of the State.”

-chris

INTRODUCING MYSELF TO MARK MILLAR – part 1

Wolverine: Enemy of the State vol.1

A CAVEAT: First, let me say that, despite being a big comic fan, I am not an X-Men fan. I have tried on a number of occasions to get into the X-Universe, but I only ever last a few issues and then move on. Which is not to say that I don’t appreciate the characters or the themes inherent with Cyclops, Storm, Rogue, Wolverine, et al. I enjoyed the cartoon back in the early ninetie;, I loved Barry Windsor-Smith’s “Weapon X” storyline; and I thoroughly enjoyed the graphic novel, “God Loves, Man Kills” by Chris Claremont and Brent Anderson, which I see as the final word on mutants. So, we’ll see if Mark Millar can make me a believer.

Mark Millar is probably the most successful contemporary writer in comics, if one judges that by how well he’s managed to get his projects into the mainstream (read: Hollywood). With Wanted and Kick-Ass and other movie projects said to be in production, is there any other comic writer whose work has reached a wider audience (Stan Lee & Alan Moore excepted)?

To my knowledge, I’ve never read a full Mark Millar penned story. I began Wanted at my local Borders, but I couldn’t get through the second chapter. I got ten pages into the Ultimates and was too bored to continue. I did read Kick-Ass, but I missed out on some of the middle issues because of the publishing delays. Other than that, I’ve not read anything from Millar, though I am aware of him and of his penchant for pushing the envelope until it shreds to confetti. So I thought I should rectify this and investigate his work starting with the much-lauded twelve issue arc of Wolverine he did with JRJr, “Enemy of the State.”

Regarding the first volume – collecting issues 20-25 – I have to say, I was unimpressed. Millar’s work seems to consist of a nice, shiny patina of excessive violence lacking any heart. There was no emotional core, nothing upon which I could focus my attention in order to become engaged with the story.

Wolverine goes to Japan to help his dead fiancée’s cousin, whose son has been kidnapped (thankfully, Millar only uses Akira Kurosawa’s plot from High & Low, which was itself a loose adaptation of Ed McBain’s novel, King’s Ransom, as setup). Wolverine confronts the Hand ninjas and is taken down by a mutant who is apparently better than Wolverine at what Wolverine does best (killing). Then we get five issues of Wolverine killing recklessly, as he takes out heroes that the Hand will resurrect as part of the final-ditch effort Baron von Strucker is using to appease his wife and hold onto all that he’s amassed. So there are battles with the Fantastic Four (I’d love to see JRJr do a long run on this title), with Daredevil, with Elektra, with the X-Men, while Nick Fury and S.H.I.E.L.D. continue one step behind. And then, at the culmination of this first collection, they manage to capture Wolverine, with Nick Fury smirking, “We got our little killing machine back.”

If it weren’t for Romita, Jr’s artwork, I don’t know if I could have gotten through these first six issues. It was a chore. I found the fights boring – despite the art of JRJr – the decompression of the storytelling grating, and the absurd enhancements made to Wolverine by Hydra – who, along with a group of mutants known as the “Dawn of the White Light” – so outlandish, even for a comic, that I was pulled right out of the story.

Wolverine has enhancements that allow him to crack any code and lock? Seriously? #$%@ off, Mark Millar!

I also could not stand the fact that all the killing Wolverine does – under brainwashing by Hydra – was just dismissed by everyone, including Nick Fury. Oh, Wolverine’s brainwashed, so it doesn’t really matter. Come on! I realize these are comic books, but it used to be that the stories would revolve around actions having consequences (and no, I’m not advocating for the After School Special model of writing). Heroes forced to make difficult choices, and living with those choices, makes for interesting reading. Characters allowed to just kill pell-mell like this and have everybody just give him the benefit of the doubt – he isn’t doing this; it’s the brainwashing – just broke any sense of disbelief I had.

This is part of the problem with comics today. Death and killing are so commonplace that it has been rendered meaningless. How can you have an emotional moment when you know it doesn’t matter? Yes, I know Wolverine is all about killing, but it used to be he only killed the bad guys – and even that has worn thin for me; when something becomes commonplace it completely loses any impact it might have once had – but having him running through innocents and heroes with nobody caring – I’ll say it again: #$%@ off, Mark Millar!

Exiting the “condemnation train,” I have to say that the manner in which Rachel managed to outthink Wolverine after he’d infiltrated the X-mansion was a twist I did not see coming and extremely well done. Millar & JRJr set it up beautifully, showing Rachel fearful of Wolverine as he had her sync up to Cerebra and search for the President. Once linked in, Wolverine, along with us readers, could not tell who she was searching for; we could only base our assumptions on how she had allowed herself to be put into this position, apparently as a result of her fear of the situation. So, when she dismantles the terraforming device Wolverine brought with him to use as a threat, and she explains that she tapped into Reed Richards’s brain to figure out how to do it, I was impressed. If only there had been more than just this one great moment in the book.

Two final things.

First: in the initial chapter, we have two characters – TWO – respond to Wolverine’s thoughts. His thoughts. Now, it comes to light later in the collection that possibly the first one to respond to his thoughts – the Gorgon – may have some form of telepathy. I will concede that one. But the second character who responded to a direct statement from Wolverine’s thoughts was a nurse. How did that get through editorial, let alone make its way onto Millar’s desktop screen? That’s just sloppy.

Second: Captain America, when he takes out Wolverine in the final chapter of this first collection, makes a wise-ass remark as he slams Wolverine’s head with his S.H.I.E.L.D. – “Heal this.” Come on. These characters are supposed to be unique, but none of them had anything resembling a distinct voice. Having Cap utter such a brainless quip felt completely out of character. Steve Rogers is an army man, who has served his country and believes in the ideal of America. He has class, and that remark lacks anything resembling class. Millar thought he was being cute, and he just exhibited his tin ear.

And third (yeah, I said “two final things,” but I reserve the right to change the rules, this is my house): Why is S.H.I.E.L.D. having all the superheroes quarantine themselves while Wolverine is on the loose? S.H.I.E.L.D. agents are going to do a better job against Wolverine than the Fantastic Four, Dr. Strange, Daredevil, Captain America, the Falcon, etc. etc. etc. could as a collective group? Or singly? Whaaaatttt????!!!! That’s stupid.

Ugh. I wonder if I can stomach the second collection. I’m already feeling a bit queasy from the Greg Land cover to the volume. At least I know JRJr did the interiors. Maybe that will help me get through the rest of this piece of dreck.

We’ll see.

-chris

FROM THE LONGBOXES: Amazing Spider-Man #30-35 by JMS & JRJr – Part III

Forgot to post this on Wednesday, so here's a Sunday bonus. The final installment in my short series on J. Michael Straczynski's & John Romita, Jr.'s run on Amazing Spider-Man that originally ran at the In the Mouth of Dorkness blog.

Enjoy.

SOME FINAL THOUGHTS

One of the best things about J. Michael Straczynski’s run on Amazing Spider-Man (at least up to the point I stopped reading, which was when JRJr left the book and Mike Deodato came on as artist) was his characterization of Peter Parker. JMS had a firm hold on what makes this character tick. Despite being older, Peter is still a person who takes very seriously his responsibility to his family (Aunt May and, though she is gone at this point, Mary Jane) as well as his responsibility, as Spider-Man, to the populace at large. This does not mean his exploits as Spider-Man are not nerve-wracking. This is why Spidey has always been a wise-cracker, spewing ridiculous jokes to cover up the fear he feels. It’s a common defense mechanism and one that has been a part of this character from the start. And JMS’s dialogue smoothly fits into this aspect of the character.

JMS also has Peter moving forward in his civilian life, having him become a science teacher at his old high school, as another way for him to give back to the community. This is a natural extension of the Spider-Man template set forth by Stan Lee and Steve Ditko back in the early sixties where they had him graduate high school, move on to college, and have evolving relationships with the likes of Betty Brant and Gwen Stacy. Again, it fits the character and is a nice way of “showing” readers who Peter Parker/Spider-Man is rather than telling us through some dull expository caption boxes. It’s a subtle bit of storytelling that too few writers in comics miss out on, even today.

The pacing of this story is also excellent. There’s an ebb and flow to the narrative that allows readers to enjoy the story and experience the emotional crescendos when they arrive. One of the best bits of writing advice I’ve gotten came from the DVD commentary by JMS for the final episode of season one of Babylon 5. He discussed how one should have a quiet moment prior to a major disruption in the narrative – whether it be an emotional disruption or an alien attack or whatever – in order to make that emotional instance resonate with the audience. And JMS deftly weaves the quiet moments with the “big” ones in this storyline.

Straczynski also sets things up nicely. He doesn’t have any resolutions come out of left field. The way Spider-Man defeats Morlun is reached through a natural progression of events, none of which feels forced or hackneyed. The way Morlun goes on about feeding on a pure totemistic host, and Ezekiel’s surprise arrival that catches the villain off-guard and bloodies his nose – offering Peter an opportunity to study what manner of creature Morlun is – all make sense and feel like the events they are (the villain monologuing, Ezekiel helping Peter) before you realize that they have secondary consequences (the opportunity for Peter to survive this primal force). It’s wonderful storytelling.

And that brings me to another aspect JMS brought to his initial storyline. He incorporated Peter’s scientific background when he had Peter take Morlun’s blood and analyze it for a possible way of defeating him. This is something I have rarely seen utilized in Spider-Man comics. It was refreshing. This has always been a cornerstone of the character, and yet it is hardly used within the stories. Peter’s webs were originally created by him, a scientific breakthrough that he tried to sell to some scientists way back in issue # 18 – a deal that fell through when they discovered the webs dissolved in minutes.

Yeah, editors have made his webs organic – actually an extension of Peter and emanating from his wrists – and I can’t say where the “continuity” stands on this aspect right now, and I’d rather not think about that. Ugh.

Bringing this aspect back into the book, accentuated by Peter’s decision to become a science teacher at his former high school, was something I greatly appreciated.

And John Romita, Jr’s artwork has never looked as good, in my opinion. He draws a lithe, ballet-like Spider-Man who is wiry and able to contort his body in a manner reminiscent of a spider and, again, a body type that hearkens back to Steve Ditko’s seminal work.

AN HISTORICAL NOTE: Initially, Jack Kirby was tapped to draw Spider-Man and he finished five pages of an initial story. But Stan Lee discarded that and chose to have Ditko draw the book. He obviously made the right choice. I don’t know the reasoning, but it seems to me that Kirby’s blocky style really would not fit with the character of Peter Parker – a teenage bookworm with a slight physical frame – whereas Ditko’s lithe artwork was a perfect match for the young hero.

JRJr knows how to draw comics, especially action-packed ones like Spider-Man. And he does not disappoint here. When Spidey first faces Morlun, the double-page spread we get from JRJr is fantastic, a whirlwind of these two larger-than-life characters pummeling each other. It’s a collage of images without panel borders that gets across the frenetic pace of the battle. It really is a masterfully drawn spread that showcases the unique properties of comics storytelling.

But, though this may not be his strong suit, JRJr can also evoke emotion from the quieter moments of the story. It’s these moments that help punctuate the action and give it the emotional tenor necessary in a story like this. Thankfully, JRJr is not afraid to let these softer moments breathe within the larger narrative. He understands, better than a lot of artists, how to tell a comic story effectively and give readers a full and satisfying experience. Having a veteran of his stature, who can also hit deadlines, on this book with JMS was a good move on Marvel’s part. It really elevated the first half of Straczynski’s tenure as writer on Amazing Spider-Man and is a major reason why this first storyline won the 2002 Eisner award for best serialized story.

And finally – JMS went there. He finally had Aunt May discover that her nephew is Spider-Man. And the way JMS handled that was brilliant.

But that’s best saved for another time.

-chris

FROM THE LONGBOXES: Amazing Spider-Man by JMS & JRJr - part 2

It's new comics Wednesday, so here's another piece from my writing over at the In the Mouth of Dorkness blog. enjoy!

NOTE: SPOILERS AHEAD! BIG TIME!

First go read part I, then come back.

Okay.

Peter, bloodied and severely bruised, goes to Ezekiel to accept the offer of sanctuary this enigmatic businessman with eerily similar spider powers had proffered earlier. But it is too late. Morlun has touched Spidey and can now track him no matter where he hides. And, despite having extra-normal powers – or maybe for that very reason – Ezekiel declines to assist Peter in his battle with Morlun. If he did that, Morlun would be able to latch onto his scent, as he’s done to Peter, and he would come after Ezekiel next to leech him of his own totemistic powers. Ezekiel has too much to lose. He can’t forsake all he’s amassed for a fool’s errand.

So Spider-Man returns to the maw of destruction created by Morlun, and he must save a young child from this primal force of nature before going on the attack with his fists and his webbing. Nothing stops Morlun, and Peter realizes he needs to get some breathing room. But he stays within his enemy’s field of vision so that Morlun will remain fixed on the prize and not go after anyone else.

But first, in a nice touch by JMS, Peter calls the school to tell them he won’t be in. Too often, questions within the hero’s private lives (such as why would Clark Kent not be missed from the Daily Planet if he was off in space for weeks at a time as Superman) are never confronted, let alone answered. Having Peter do this in the middle of a battle not only firmly establishes this new status quo in Peter’s life, but it is also another example of JMS exhibiting Peter’s conscientiousness, which is a hallmark of the character.

Then the battle continues, with Morlun devastating Spider-Man in his relentless onslaught. Hardly able to move, after Morlun smashes him into a building with a lamppost, Spider-Man snags the bumper of a car with his webbing and lets it drag him along the paved road in order to get away, if only for a moment. Once he’s put some distance between himself and Morlun, Peter takes a moment to call Aunt May and tell her how much he loves her. He realizes it may be the last opportunity he has to do this.

And then Morlun is on him again, driving Spidey toward the docks.

But out of nowhere, Ezekiel knocks Morlun down from behind. With the enemy momentarily confused, Spidey and Ezekiel pour it on, bloodying Morlun’s nose before he regains his edge and sucks the energy from Ezekiel, who falls into the bay. Morlun, having quenched a bit of his thirst, leaves Spider-Man to look for his friend, content in the certainty that he will feed on him soon enough. And he returns to his aide, Dexter – a human liaison who wished to be close to power and has been helping Morlun make his way through New York – in order to prepare for the final battle.

But this altercation gives Peter something he hadn’t had before. He takes the bloodied timber from the dock and examines it at home. In so doing, he discovers that Morlun’s cells are made up of an amalgam of every kind of animal cell – the purest forms of DNA Peter’s ever seen. That is why Morlun needs to feed on a pure totemistic life-form, so that he can recharge those cells before they break down.

And that’s the key for Peter. He needs to dilute the purity of his Spider powers. To do that, he considers seriously Ezekiel’s earlier question: “Which came first, the radiation or the power?” Which is to say, did the radiation give the spider the power with which Peter was infected, or did the spider already have that totemistic power and inject Peter with it when it knew the radiation was going to kill it?

So, Peter injects himself with that same radiation, in order to dilute his totemistic purity and give Morlun something poisonous to feed on instead. And when Morlun tries to take Peter’s spider force, he burns with the radiation. Spider-Man now has a weapon, and with every punch he pours more radiation into Morlun – weakening him, changing him, making him vulnerable.

As Peter pounds on Morlun, he realizes that just defeating him isn’t enough. Morlun is a primal force that cannot be stopped in any conventional manner. Only through such an extreme scenario as this one, in which Peter injects himself with a near-lethal dose of radiation, is there any hope of defeating him.

Peter realizes Morlun must die. But can he do it?

And then Dexter, Morlun’s aide, comes out of the shadows and shoots him, wrenching the decision away from Peter. Part of Dexter’s services to Morlun included providing sustenance for the centuries-old vampiric being. It may have made Dexter feel important at first, but it hurt – a lot – and the toll it took on him was overwhelming. So, seeing his opportunity to be free, Dexter takes it.

And we, and Peter, will never know if he would have made that ultimate choice. It is a question that will haunt Peter for a long time, and it’s a perfect, emotional ending for this initial story from JMS and JRJr.

Except that this wasn’t the end. There still needs to be a cliffhanger, a reason for readers to come back and buy the next issue. There has to be the denouement. And JMS provided one helluva denouement.

When Peter had called Aunt May earlier to tell her he loved her, she had offered to pick up his clothes and take them to the cleaners. But, with Morlun on his trail, he didn’t have time to answer then.

So Aunt May decides to go to Peter’s and pick up his clothes – always wanting to do for her nephew, it makes complete sense. Peter is sleeping, and had taken no time to put away his tattered costume when he arrived home earlier. He is so exhausted from his battle with Morlun, that his spider sense does not warn him of Aunt May’s arrival.

And she sees his bloodied body and his Spider-Man costume, and realization hits her like a lightning bolt from a clear sky.

But that story is reserved for another day.

-chris

FROM THE LONGBOXES: Amazing Spider-Man by JMS & JRJr part 1

It's new comics Wednesday, so here's another piece from my writings over at the In the Mouth of Dorkness blog.

Enjoy,

In 2001, Marvel decided to make a big splash with their books and re-energize a number of titles. These included New X-Men from Grant Morrison & Frank Quitely, Daredevil from Brian Michael Bendis & Alex Maleev, and Amazing Spider-Man from J. Michael Straczynski & John Romita, Jr. It was a great time to be reading comics, and, for me, this was the first time since John Byrne was working regularly for them that I took any notice of Marvel comics. I mean, come on – Grant Morrison did Animal Man and Bendis did Torso, and I loved those books. How could I not pay attention?

But, for me, the biggest news was that JMS was going to be writing Amazing Spider-Man. This was huge. I love Babylon 5, and, for my money, it is the best science fiction television show ever to hit the airwaves. The evolution of characters, the laying down of story seeds in the first season that payoff two or three or four seasons later, the big ideas coupled with fully realized alien races and political intrigue – JMS kept me excited and wanting more throughout the entire five seasons of this seminal science fiction show.

So when he was hired for Spidey, I was all in.

And the first storyline, encompassing issues 30-35 and entitled “Coming Home,” did not disappoint and ended up winning the Eisner award for best serialized story that year.

In interviews, I remember JMS stating he wanted to stay away from the typical Spider-Man villains and create new characters for his run. And he dropped everyone into the deep end of the pool with the first issue when he introduced Ezekiel.

A successful businessman – something we don’t discover until shortly after we first meet him – Ezekiel knows an awful lot about Spider-Man, including his origin, his powers, and who it is beneath the mask. Ezekiel also has very similar powers to those of Spidery. And, to top it all off, he tells Pete that maybe everything he believed about his life as Spider-Man is wrong.

Ezekiel claims that Peter’s transition into Spider-Man isn’t merely a random occurrence. He asks Peter, as the two of them stand atop the Empire State Building:

“Did the radiation enable the spider to give you these powers?

Or was the spider trying to give you those powers before the radiation killed it?”

And Peter’s mind is blown. This puts everything he’s believed since that fateful day into question, and Peter doesn’t know what to think. And then, Ezekiel is gone.

A few days later, Ezekiel finds Peter at his new job, science teacher at his old high school. He invites Peter for pizza to discuss what he thinks he knows about his powers. Ezekiel tells Peter about these totemistic forces that used to walk the earth, race memories that still haunt our DNA. These forces were ones that could bridge the gap between humans and other species. Ezekiel claims that Spider-Man is one of these totemistic forces. As he explains, you can judge a hero (or man) by his enemies. One type of hero attracts the same type of enemy, and in the case of Spidey, he’s attracted a lot of totemistic pretenders – Doctor Octopus, the Vulture, the Rhino, the Lizard, and the Scorpion, to name a few of his rogues.

After their pizza, Ezekiel invites Peter to his office building where he offers Peter sanctuary in a specially built panic room where he can hide from the evil that is coming to hunt him down. Peter declines, worried that whoever may be after him would put innocents in danger in order to draw him out. And, having battled numerous enemies through the years as Spider-Man, he feels no need to run and hide. He’s done this before. He will do it again. And he always comes out on top.

AN ASIDE:

I loved this new perspective JMS took with regard to Spider-Man’s powers and origin. There was an outcry from loyal Spidey fans who denigrated such a reworking of Peter Parker’s story – and many posited a strong argument that this new idea took away the strength of the character, i.e. a forlorn teenager accidentally endowed with great power who must come to terms with his new reality and realize that with such power comes great responsibility. The randomness of the spider bite plays into this depiction of the character very strongly, and I can understand how some might perceive this as undermining the character. But, for me, I always took Ezekiel’s story with a heavy grain of salt, intrigued by this notion but content to believe it was only a possibility and nothing more.

But I digress

The evil coming to hunt down and feed on Spider-Man is the other major character JMS introduces in this first story arc, Morlun. A vampiric creature who feeds on the life-force of those who have totemistic powers, Morlun believes, as Ezekiel does, that Spider-Man is one of these totemistic forces. It has been a long time, possibly centuries, since Morlun fed on a pure totemistic force. So he is determined to capture Spider-Man. And he is a badass. With inhuman strength on a level that allows him to effortlessly shake off Spider-Man’s strongest punches, unyielding stamina, and the ability to track his prey anywhere once he’s come in to contact with them, Morlun does not stop for anything. This is something Spidey learns very quickly, when Morlun uses Spider-Man as a rag doll in their initial confrontation.

Worn down and fearing for his life, Peter goes back to Ezekiel. He is ready to take the sanctuary now. But it is too late. Morlun has touched Peter. He can track him anywhere now, sensing him even within a full-proof hideaway such as Ezekiel constructed. Sanctuary is no longer an option.

It is at this point, that things look bleakest for our hero.

To be continued …

-chris