Reprinting: Marvel Premiere #1, 2, Warlock #1-8, The Incredible Hulk #176-178 (1972-1973, 1974)
Miscellaneous (Superheroes) - PAGE 12
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Marvel Masterworks: Warlock 2007 (HC) 278 pages
Written by Roy Thomas, Mike Friedrich with Gerry Conway, Ron Goulart, Tony Isabella. Pencils by Gil Kane, Bon Brown, Herb Trimpe, with John Buscema, Tom Sutton. Inks by Tom Sutton, with Dan Adkins, Jack Abel.
Colours/letters: various. Editor: Roy Thomas.
Reprinting: Marvel Premiere #1, 2, Warlock #1-8, The Incredible Hulk #176-178 (1972-1973, 1974)
Additional notes: intro by Roy Thomas, covers;
Rating: * * (out of 5)
Number of readings: 1
Published by Marvel Comics
Adam Warlock is perhaps the perfect epitome of the "cult" character -- one who has drifted around the fringes of the Marvel Universe, off and on, for decades, periodically getting reimagined for some "new direction" in the character's life, occasionally starring in usually short lived series, garnering some critical notices, but never quite achieving mass commercial success.
I first came upon Warlock when I read reprints of a Jim Starlin written and illustrated epic in the pages of Fantasy Masterpieces (backing up Silver Surfer reprints). A genuinely mind blowing saga, Starlin's epic (what I dub Warlock vs. the Magus) stands even today as one of the great comic book sagas. I later read the rest of Starlin's original run on Warlock, which culminated in Warlock's death (and a seeming permanent death...it was almost two decades before he was brought back, by Starlin again) and if the whole of Starlin's run wasn't as strong as that initial epic, it was still good. But for years, I was curious to read the original, pre-Starlin Warlock stories. Particularly as it was clear that, even before Starlin, the character was intended to be an unusual, ambitious property.
And now, all these years later, Marvel represents the original Warlock saga in one of its ridiculously expensive, Marvel Masterworks volumes. This collection skips over the original appearances of the character -- first introduced in a Fantastic Four story, and then cropping up in a few Thor issues -- but begins with this new take on the character from Marvel Premiere #1. The series begins with another recurring Marvel character, the High Evolutionary, who has decided to create a perfect world by recreating the earth on the far side of the sun, but without evil. Warlock happens along and starts hanging with the H.E. as this occurs -- only to witness as the Man-Beast (one of the High Evolutionary's failed experiments) decides to interfere and introduce evil into the creation of this Counter-Earth. His experiment ruined, the H.E. plans to destroy counter-Earth until Warlock intercedes and asks for the chance to redeem the world.
And by this point, it should be obvious what's happening here. Warlock is nothing less than the Christ story reimagined as a super hero epic. This isn't a subtle sub-text, or something readers can debate -- it simply is. Not only is it obvious to the point of heavy handed, but creator Roy Thomas clearly addresses the theme in his introduction to this collection.
So Warlock goes to Counter-Earth, acquires a group of hippy followers, battles the Man-Beast and his minions, and certain Biblical scenes are recreated -- Warlock being tempted more than once, and finally culminating in a martyrdom and resurrection.
It all sounds pretty grand and ambitious and mind blowing...
If only it were.
The problem is, both Thomas and chief writer Mike Friedrich seem to tackle the concept in a purely gimmicky sort of way. What's missing from Warlock is any sense that the parallels and themes have any real meaning. When Stan Lee did his earlier Silver Surfer series -- another character likened to a comic book Jesus -- you could really believe that Lee was sincere when writing the Surfer's anguished monologues about the state of human kind, and though the Surfer was a little too prone to fisticuffs for him to quite pass as a pacifist Jesus, he at least paid lip service to non-violence and the like. But with Warlock, we get very little sense of an underlining philosophy or meaning. Warlock's goal is to "save" or redeem the world -- but it's not clear how. He acquires followers, but more through the power of his presence than the power of any ideas he expounds upon. He spends most of his time just battling monsters and the like. There's some token criticism of war...but nothing that would really shock a hawk.
And characterization is equally vague, of Warlock, of his followers.
One kind of wonders if, after coming up with the "daring" concept of doing the Christ story as a super hero adventure...most of those involved really weren't sure what to do with it, spending a lot of time just kind of treading water and spinning wheels. In fact, the first issue is recapped so often throughout the series, it smacks a little of padding.
It's ironic that Thomas, in his intro, quotes a long ago letter writer who criticizes the series because of its obvious Christ parallels and the writer, being an atheist, says the story has no meaning. Thomas, who sometimes seems to have a thin skin when it comes to criticism, then mocks the letter writer, by saying it's only a "comic book." But that maybe reveals what's wrong with the series. First off, you can't very well freely admit you based your story on the building blocks of a major religion then, when someone calls you on it, suggest they're reading too much into it. Secondly, why do it if you don't intend it to have some sort of deeper philosophical resonance?
The series starts to improve half way through, as new elements are added in that take it a bit away from the messiah metaphor, as a new president rises to power with an ambiguous agenda, and the idea of Counter-Earth paralleling the regular earth is played around with a bit, such as having Counter-Earth's version of Doctor Doom -- here a good guy -- befriend Warlock. And we even get a hint of the melancholic Warlock Jim Starlin will later write as Warlock bemoans: "(I bring) only death to those who would follow me!" Though even here, plot threads and characterization aren't really developed especially well. Despite this beginning of a rise in quality, the series was cancelled in mid-run, leaving it to be finally wrapped up in the pages of the Hulk -- also included in this collection. Funnily enough, the Hulk issues are the strongest. Maybe it's because writers Gerry Conway and Tony Isabella were just a little more on their game, or maybe by filtering the story through an established character like the Hulk, they were able to find an emotional "in" into the premise
Though this draws attention to an obvious omission in this collection. Since Warlock's adventure took place on this parallel world, it was fairly isolated from the regular Marvel continuity. But there was an earlier Hulk comic where the Hulk briefly arrived on Counter-Earth. It's referenced in passing, but becomes rather important in the climactic issues, as suddenly we are introduced to supporting characters (such as good guy beast-men, when all the other beast men had been evil followers of the Man-Beast) who had not appeared before in the Warlock issues! If Marvel had thought to include Hulk #158 in this collection as well, it would've made the climax seem a little more logical.
Gil Kane draws most of the first half of the saga, and Kane is of course regarded as something of a giant in the field, and his work is dynamic and energetic. But though I like Kane, I find that there can also be a certain rawness to his work, or coldness. So, strangely enough, as much as a like Kane, and as much as his work on the series was seen as a selling point, when the less dynamic Bob Brown takes over -- well, there's still an appeal to the art. Brown is maybe less effective at the action scenes, but maybe more effective at the talky scenes. And funnily enough, Herb Trimpe, an artist I never considered myself a "fan" of, per se, delivers some particularly well composed, dramatic pages in the final Hulk issues. The result is that, despite a succession of artists, the art always has something to recommend it, even as none of the art is entirely "great".
Ultimatey, by collecting the entirety of the saga, including the Hulk-issues conclusion, this volume at least has the appeal of being a graphic novel, with no dangling plot threads or anything (though since Warlock, High Evolutionary and the Man-Beast had all appeared before, the first issue does have to recap a lot of Marvel lore!). But ultimately, the original Warlock saga is more notable as an audacious experiment than as an ambitious success.
In a way, it's perhaps ahead of its time. The whole idea of trying to reinvent the super hero saga by setting it in its own "reality" removed from the mainstream (where Warlock really is supposed to be the only super hero) and exploring ideas of super hero as religious saviour would become more common in later years (sometimes with equally problematic results) -- and in just a couple of years, one can only imagine what writers like Steve Gerber, Don McGregor, Steve Englehart, and Jim Starlin would've done with the material had they been given a crack at it.
Actually, in the case of Starlin, we know -- and he produced one of the best sagas of his career. Though Starlin rather reinvented the property, turning Warlock into a brooding, melancholic figure and, ironic for a character that here is a religious metaphor, Starlin's initial Warlock epic was a biting criticism of organized religions. If Marvel releases a Warlock, vol. 2, it will be Starlin's material that will get the collection (a run of comics that have been reprinted a few times over the years, but never to my knowledge in a single volume). But Marvel might have been better to reprint everything in one of their cheaper Essential volumes, because other than as a curiosity, as entertainment I'm not sure these original issues really justify the cost of this prestigious hard cover. Cover price: $87.95 CDN./ $54.99 USA.
The Watchmen
is reviewed here
World's
Finest 1991 (SC TPB) 150 pgs.
Written by Dave Gibbons. Pencils by Steve Rude. Inks by
Karl Kesel.
Colours: Steve Oliff. Letters: Bill Oakley. Editor: Mike Carlin.
Reprinting: World's Finest #1-3 (1990 prestige mini-series)
Rating: * * * (out of 5)
Number of readings: 2
Published by DC Comics
This is comprised of some wonderful strengths...and some
frustrating weaknesses. The story, such as it is, has villains Lex Luthor
and the Joker, scourges of Metropolis and Gotham City respectively, taking
an interest in each other's city, leading Superman and Batman to work together
(at least, to co-ordinate their efforts) to combat their foes.
For the historically minded, the title derives from the
comic, World's Finest, which from the 1950s to the mid-'80s featured
team-up stories between Batman and Superman (there was a brief run in the
early '70s of Superman teaming up with other characters).
There's a bit of homage at work here and a kind of charming
simplicity to the story. Though there's the occasional murder, there's
a gentleness that is missing from a lot of modern comics -- even a lot
of action scenes are more about rescuing people than pounding bad guys.
And in the treatment of the Joker we're supposed to accept the old fashioned
comic book convention that, despite his string of heinous crimes, he's
somehow served his time and is free to wander the streets with impunity.
Likewise, the notion that Superman and Batman would panic and call on each
other simply because a couple of (let's face it) minor villains have come
to town, or that it would be the talk of the news services, is hard to
swallow if taken in the context of modern, more "realistic" comics.
Steve Rude's art is lovely to look at. Unsure as I am
of his normal style, I wonder if there's an attempt at homage here, too.
The art is modern (at least, the better modern artists), with detailed
panels and well-proportioned figures, but it's married with a warm restraint
and an appealing evocation of Supe's creator Joe Shuster in the depiction
of Superman. Of course, Rude's Batman reminded me of David Mazzuccelli
from Batman: Year One, so maybe I'm just
seeing things that aren't there.
Rude's art is intricate, without being busy. You can scrutinize
panel after panel for the little details (Superman munching a donut) and
amusing little extras he puts into the backgrounds. In that sense, he's
reminiscent of Alex Ross. This would seem to clearly be a labour of love.
Given the painted cover, I thought I'd be disappointed by the more conventional
ink and colour art inside, but not so. It was wonderfully enthralling,
well coloured by the always reliable Steve Oliff.
Dave Gibbons is best known as an artist, but he crafts
nice dialogue, shifting effortlessly from scenes told entirely without
words to panels cluttered with dialogue. But cluttered in a good way (with
Oakley's letters reminiscent of John Costanza). Combined with Rude's intricate
art, there are panels that are delightful to read, picking up on all the
nuances in words and image. There are some nice character bits and heartfelt
scenes, but overall, there's a light-heartedness and the story takes place
over the Christmas holidays. World's Finest is clearly meant to be just...fun.
The story involving Luthor and the Joker is weak, but
it's interwoven with a plotline involving am orphanage. Initially, the
premise seems an odd choice for an expensive mini-series, the first major
teaming of Bats and Supes since DC overhauled its comics in the mid-'80s.
No earth-shattering threats, just a small scale thing about mysterious
doings at an orphanage. But, of course, what better story to unite comicdoms
two most famous orphans than a story involving orphans? Viewed that way,
it seems the perfect premise and reinforces what seems to be Gibbons and
Rude's intent: to tell a story with heart.
I started on the third and final book completely won over.
Sure, there were short-comings, but Gibbons and Rude had made me forgive
all that. It was their game to lose.
Unfortunately, they do, somewhat.
By the final book, the orphange plot has been wrapped
up, and we're left with the Joker and Luthor. But it was the orphange plot,
thin as it was, that kept the interest level in the first two books, by
providing questions that had to be answered, and original characters.
After all is said and done, Gibbons fails to deliver a
plot involving the big name baddies. The two villains have got into a feud
and the final third is just Superman and Batman mopping up after them as
they blow up each other's establishments. There's no point, no purpose,
and no narrative direction. It's just a string of action scenes (like a
nice one where Superman intercedes in a potential nuclear power plant melt
down) that never go anywhere -- the heroes never even defeat the villains
who end up simply calling a truce!
Throughout the entire series there's a certain stream-of-consciousness
to the thing, with little sense of one scene building on the last, heading
to a climax. I'm not really sure what Luthor and the Joker were doing,
or why, or why they decided to expend so much energy harrassing each other.
Gibbons delivers the goods in dialogue and scenes, but he doesn't seem
to have a grip on that pesky little concept called plotting.
There are other weaknesses. The story contrasts the two
heroes, and there are some clever parallel scenes. Unfortunately, the parallels
are a little too close, undermining the concept. There just isn't a big
contrast between the two -- not that I'm saying there should be.
But that's the premise behind DC's current vision of its two major stars.
There may've been a certain ambivalence on the part of
Gibbons and Rude toward DC's New World Order. The old Superman and Batman
were buddies, the current versions aren't. But in this series clearly steeped
in nostalgic affection, there's an attempt to juggle the two versions:
at one point Batman says he and Superman are "hardly friends", yet later
Superman gives Batman a Christmas present and Batman invites Superman to
spend the holidays at Wayne Manor. It's a particularly smartly written
scene, memorably human, and underscoring an awkwardness between the two.
But the scene shows that, though they clearly aren't as close as the original
version, they're more cordial than people who, supposedly, aren't friends.
Other attempts at parallels force the characters into
odd situations. Perry White acting for Superman like James Gordon does
for Batman, as an avuncular confidant. But surely Lois or Jimmy are closer
to Superman than Perry? And the Joker is presented as a business man, complete
with property holdings. In other words, as a minor version of Lex Luthor.
There's too much of a sameness in things. Even action scenes (there are
no less than three sequences of rescues from burning buildings).
As well, Superman and Batman spend a long time co-ordinating
their efforts, without quite teaming up. Surely that's the point, though,
to see the two heroes (eventually) side by side in the climax? But then,
that's my point...there isn't really a climax, per se.
Gibbons employs a simple cinematic picture-dialogue technique
-- no thought balloons or omniscient texxt captions. Normally I feel that
style fails to exploit the full range of the medium. But here, it works
surprisingly well (aided, no doubt, by Rude's facial expressions) with
scenes compelling. But there still remains a certain superficiality, a
lack of insight that adds to the overall breeziness and odd character interpretations.
Batman as Bruce Wayne is usually portrayed as a man who pretends
to be a womanizer...yet here, he actually seems to be one, hitting on Lois
Lane.
Ultimately, World's Finest combines great art and dialogue
with an old fashioned sensibility that's quite delightful. It'll probably
be fun to re-read in December, when the story takes place and it can exploit
the yuletide spirit. But the unfocused narrative and lack of strong ideas
ultimately hobble the thing, making the parts greater than the sum. Frankly,
I'm almost tempted to suggest that if you can only find the first two books,
they might be worth picking up just on their own. It's enjoyable...but
disappointing.
As an aside, the bones of this concept was later adapted
to a three part episode of the Batman/Superman Adventures cartoon, which
was, then, adapted back to comic form.
This s a review of the story serialized in the World's
Finest mini-series.
Cover price: __ /$19.95 USA. (published by DC Comics)
Wrath of the Spectre
This was originally collected in a 1980s mini-series, and has only just now been released in a TPB -- as such, because I'm too lazy to move it, my review is still in my mini-series section.
Written by Steve Englehart, Jim Shooter, Bob Layton. Pencils Barry Windsor-Smith, Sal Velluto, Mike Manely. Inks by various.
X-O Manowar: Retribution 1993 (SC TPB) 108 pages
Colours: Jorge Gonzalez, Paul Autio, etc. Letters: Jade Moede, Ken Lopez. Editors: Jim Shooter, Don Perlin.
Reprinting: X-O: Manowar #1-4 (1992)
Additional notes: intro by Bob Layton; covers
Rating: * * * 1/2 (out of 5)
Number of readings: 1
Published by Valiant Comics
When new comicbook companies start up, they're often quick to create "new" characters that are suspiciously reminiscent of existing ones owned by the two main companies -- Marvel and DC. In his introduction, co-creator Bob Layton makes no bones about the fact that X-O Manowar -- a series about an industrialist with a super-powered suit of armour -- owes a lot to Marvel's Iron Man (a character Layton had a long association with as an inker and co-plotter with writer David Michelinie). But before the character seems too much like just a pale retread, there's an added quirk in that the "industrialist" is actually a dim-witted, time lost barbarian who maybe can be likened to another Marvel character, the myth-inspired Hercules (for whom Layton wrote and drew a couple of mini-series).
The story begins with a two-part tale, showing Aric escape from his suspended animation captivity where he has been a prisoner of humanoid-like Spider Aliens covertly seeking to subjugate earth. He gets ahold of the aliens' own super-powered X-O Manowar class battle suit and finds himself on modern earth...completely befuddled by the world around him. A running battle with the spiders ensues, the end of which leaves Aric, and a contemporary human sidekick, the defacto owners of the spiders' multinational conglomerate with which they had hoped to subjugate the earth. The next two issues more fully establish the premise and the relationships, and further integrate Aric into the "Valiant Universe" as he crosses paths with the Harada Corporation, and ends up tussling with the super-powered Harbinger kids (stars of their own comic).
Often with TPB collections I can find myself starting out enjoying the book, but finding my interest waning as the pages flip by. Here, my reaction was quite the opposite.
The opening story is certainly O.K., but it's not really till we get past the premise-establishing spider stuff that the series really starts to establish itself. Overall, there's a briskness to the pacing, an easiness to the dialogue, that keeps you flipping the pages. The humour of the barbarian trying to make sense of the modern world -- nicely captured by Aric's voice over narration, allowing us to view his perceptions (and mis-perceptions) -- is effective. And the character dynamics between Aric and his more canny sidekick work well.
The (early) Valiant line seemed intended to be the flip-side to Image Comics' Big Panels/Big Muscles/Few Words style. Oh, stories like these are chock full of mindless action, but inbetween there's a lot of writing, a lot of story and character and dialogue and, yes, even smarts. Valiant seemed a writer driven company in contrast to Image's artist driven company. As such, the art is often unspectacular, even with fan favourite Barry Windsor-Smith drawing the first issue. But it's good art nonetheless...telling the story, serving the action. There is a clarity to the pictures, a readability to the panels, that's undeniable.
There's an aspect of nihilism to the series that can be a bit off-putting. Aric is, after all, a barbarian. And though he can be well meaning and heroic, he also views the world very much with a might-makes-right philosophy. But this can be tempered a bit with the addition of sidekick Ken -- not that Ken doesn't have his own moral grey areas. And Aric's world view is also used for humour -- we aren't necessarily expected to condone his views. In one sequence Ken, his newfound friend, is kidnapped by the spiders as bait to lure Aric to them...with no one realizing that the pragmatic Aric has phlegmatically written Ken off and has no intention of trying to rescue him. He only rescues him accidentally.
There are some interesting aspects to the series throughout, like having Ken be gay -- albeit it's only mentioned in the first issue.
Read years after the Valiant line has folded, this collection of early issues holds together well enough on its own. Sure, there are things that are only vaguely explained (like the Harbinger kids) and other aspects that are clearly laying the groundwork for future stories, but there's nothing blatantly to be continued about it. Quirky, well-paced, with sturdy art and decent writing throughout, there's nothing earth shattering hero, but once you get into it, it's an enjoyable romp.
Reading some of these old Valiant TPBs (including Magnus: Invasion) one is a little curious about the behind-the-scenes struggles. Former Marvel headman, Jim Shooter, was one of the founders of Valiant and is both editor and co-writer of most of these issues. By the time of this TPB, though, Shooter had been booted from his own company and there almost seems to be a rewriting of history at work. Though Shooter is still credited in the credits, in Layton's introduction he credits co-scripter Englehart, and the various artists, inkers, and bullpen team -- and, of course, himself -- yet makes no reference to Shooter. Now maybe Shooter was seen as a credit-hogger and Layton didn't feel he deserved the credit he got...or maybe as part of the regime change it was policy to diminish Shooter's early contributions. It seems a tad...odd, whatever the reason.
The TPB was originally sold bagged, with the addition of a thin comic called X-0 Database, giving you the up-to-date skinny on the suit, and the characters (since the TPB was released a couple of years after these issues were first published). Years later, with the comic long since cancelled, the Database is hardly essential reading and if you find the TPB without it, it's not important.
Cover price: $12.95 CDN./ $9.95 USA
Zorro: The Dailies: The
First Year
is reviewed here
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