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Blogging Marvel’s Master of Kung Fu, Part Six

Blogging Marvel’s Master of Kung Fu, Part Six

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Master_of_Kung_Fu_Vol_1_33Master of Kung Fu #33 sees writer Doug Moench continuing to build upon the series’ new direction while also continuing to deploy offbeat humor sparingly to great effect. This first installment of a three-part storyline begins when Shang-Chi thwarts an assassination attempt on Clive Reston by a highly-advanced automaton. The reader and Shang-Chi learn from MI5 that the automaton is one of the toys of Mordillo, a robotics genius and master assassin who, it transpires, was the force behind Carlton Velcro.

Shang-Chi is provided with his own swank London townhouse (courtesy of MI5). While Clive Reston is showing him around his new digs, they encounter Reston’s former lover, seductive MI5 agent Leiko Wu. Her introductory scene, taking a bubble bath and shamelessly dressing (barely) in front of Reston and Shang-Chi establishes her not only as a Bondian seductress, but also signals her as a confident and capable woman who is content to leave a string of broken hearts in her wake. Doug Moench excels at establishing a sense of fatalism in his work. Just as the reader understands that Shang-Chi compromising his principles in working for MI5 will only lead to regret; so too the reader understands that the innocent and somewhat naive Shang-Chi falling for the far more worldly Leiko Wu is also fated to end in pain and suffering. Shang-Chi, in his professional and personal choices, chooses the short-term good and ignores the fact that the long-term can only lead to misery.

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Blogging Marvel’s Master of Kung Fu, Part Five

Blogging Marvel’s Master of Kung Fu, Part Five

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Master_of_Kung_Fu_Vol_1_29Master of Kung Fu #29 was the beginning of the much-promised new direction the series would take. Having carefully established warring factions of the Si-Fan with loyalties divided between Fu Manchu or Fah lo Suee, writer Doug Moench and artist Paul Gulacy now set aside this key storyline they had developed and expanded since replacing Steve Englehart and Jim Starlin on the book and took Shang-Chi in a decidedly different direction, albeit one that would guarantee the series’ longevity.

While Moench had taken pains to ensure a greater fidelity to Sax Rohmer’s work, he would still deviate from it at key points. Part of this was in shaving twenty-some years off the back continuity inherited from Rohmer to make elderly characters like Sir Denis Nayland Smith and Dr. Petrie a bit more viable in the 1970s than they would be as men who should have been in their nineties. More importanly, Moench chooses to make Petrie an MI5 agent the same as Smith rather than simply Sir Denis’ lifelong friend and amanuensis.

Shang-Chi is summoned to Sir Denis’ New York estate where Black Jack Tarr and Clive Reston have already gathered along with Dr. Petrie. Smith offers Shang-Chi a place among his operatives in taking down heroin dealer Carlton Velcro. Reston is the key man in the operation as he has taken the identity of Mr. Blue, the New York connection in Velcro’s heroin pipeline. Reston’s personality has been softened to make the character more mature and more of a team player with Tarr, Smith, and Petrie.

Shang-Chi is torn between his pacifist philosophy and his trust in Sir Denis as a good man who desires to eradicate evil from the world. A visit to a Manhattan rehab clinic is enough to convince Shang-Chi that stopping the powerful heroin dealer is justification enough to use violence against the greater social ill. Of course, this Machiavellian decision is one that will bring Shang-Chi much grief. It is to Moench’s credit that the reader immediately understands that choosing to be a hero brings Shang-Chi closer to the the philosophy his father has embraced – a philosophy Shang-Chi has sworn to reject. Choosing Sir Denis as a father figure illustrates that Shang-Chi, like the traditional reader of Rohmer’s Fu Manchu series,  fails to perceive just how much of a mirror image Sir Denis is to his venerable foe.

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Blogging Marvel’s Master of Kung Fu, Part Four

Blogging Marvel’s Master of Kung Fu, Part Four

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61Wi5uAwkoL._SX323_BO1,204,203,200_Giant-Size Master of Kung Fu #3 continues the run of excellent issues from writer Doug Moench and artist Paul Gulacy. While the early cycle of stories suffer from an over-reliance on Fu Manchu as the villain (to levels that rival Baron Mordo in the early Lee-Diko Dr. Strange stories), there was a method to their madness. The blowback from Sax Rohmer fans (which started in the pages of The Rohmer Review fanzine) was followed by the author’s widow filing a complaint with The Society of Authors over Marvel’s mismanagement of her husband’s property.

Steve Englehart and Jim Starlin had no way of knowing that killing off an old character in Shang-Chi’s debut would constitute not keeping to the tone and content of the originals. They were a writer and artist assigned to a property and were more interested in creating a Marvel variation on the successful Kung Fu television series than they were in reviving Fu Manchu. Moench and Gulacy were determined to avoid further legal hassles by showing something approaching fidelity to Rohmer while carefully positioning the storyline to more closely model Ian Fleming and Len Deighton spy thrillers than Rohmer.

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Horror + Hulk = The Immortal Hulk

Horror + Hulk = The Immortal Hulk

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Marvel’s jacket copy of The Immortal Hulk goes like this: “Horror has a name. You’d never notice the man. He doesn’t like to be noticed. He’s quiet. Calm. Never complains. If someone were to walk up and shoot him in the head… all he’d do is die. Until night falls. And someone else gets up again. The man’s name is Banner. The horror is The Immortal Hulk.”

Marvel’s The Incredible Hulk has had a lot of incarnations. His original incarnation by Lee and Kirby was a Jekyll and Hyde story with a scientist turning into a gray-skinned monster each night. They found that gray-skinned monster blended into the gray night-time scenes so the Hulk soon became green and more of a science fictional anti-superhero who fought high-science communist threats and briefly joined the Avengers.

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Repent Your Crimes: Marvel’s Black Bolt Series

Repent Your Crimes: Marvel’s Black Bolt Series

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I’ve been a Saladin Ahmed fan for a while. I probably heard his first fantasy fiction at Beneath Ceaseless Skies with Mister Hadj’s Sunset Ride, or in Podcastle’s Judgement of Swords and Souls (click on the links for free audio versions). I also met him in person in 2013 when I ended up at the same table as him during the Nebula Awards Banquet (where his first novel had been nominated).

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So I perked up when I saw that Marvel had Ahmed writing a new Black Bolt solo series. I picked up the first issue in June, put it in my backpack and promptly…. left it sitting in my TBR pile. For two months. And I didn’t even crack it open until issue #4 was already out.

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With Doctor Strange Behind Us … My Ranking of the Marvel Studios Films

With Doctor Strange Behind Us … My Ranking of the Marvel Studios Films

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With the release of Doctor Strange, Marvel Studios has now advanced two films into Phase 3 with a remarkable tally of fourteen feature films produced over eight years — the most prolific blockbuster franchise ever. More remarkable is the level of quality the series has maintained. There’s only one entry so far I’d classify as a legit bad movie, and Marvel got that one out of the way early. Marvel Studios keeps its comic book movie engine chugging steadily along because it’s woven together a mesh of characters audiences love, and because it varies tone, style, and genre with each movie. Tech adventures, space opera, fantasy, war, espionage… Marvel offers something for everyone.

And since the Internet loves numbered lists, and I like writing my opinions, here’s my personal ranking of the fourteen MCU films so far. It’s a wobbly list, but I’m fine with wobbly if the reason is that most of the entries are just so good that they crowd close together. With one exception, I’d gladly sit down to watch any of these films on a whim.

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Wreaking Carnage Everywhere: Marvel’s New Horror Comic

Wreaking Carnage Everywhere: Marvel’s New Horror Comic

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309462__sx640_ql80_ttd_carnage_vol_2_1_perkins_variantI’ve been thinking about horror again, as a genre. I’ve been trying to read some Cthulhu stuff; I’ve reread some Image and Marvel horror comics; and I’ve also recently read Ellen Datlow’s Best Horror of the Year #8. Lots to mull over.

And a newer Marvel series I read was Carnage, the first 11 issues, by writer Gerry Conway, artist Mike Perkins and colorist Andy Troy.

Carnage is new territory for me. I’m not much of a post-Ditko Spider-Man reader, and I was slightly too old in the 90s to cotton to those incarnations of Venom and Carnage. So, fast-forward to 2015 and 2016 and me catching up with Venom Space-Knight and Carnage.

If you’ve never met Carnage either, he’s an offspring of that symbiotic black suit that Peter Parker returned home with after the original Secret Wars. The symbiote went on to have its own stories sans Spider-Man by covering a new host.

In the early 1990s, a darker character was needed, so they had the symbiote…. fission… to create a new symbiote that wrapped itself around psychopath and homicidal sadist Cletus Kasady. Carnage played villain for a while and then disappeared with only some minor surfacings until this new series in 2015.

I wasn’t sure what to expect of a series centered on a serial killer. How much can you do with a single serial killer? I decided to give it a try anyway, and was very pleasantly surprised, and in fact, Carnage is turning into one of my favorite Marvel titles.

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Blogging Marvel’s Master of Kung-Fu, Part Three

Blogging Marvel’s Master of Kung-Fu, Part Three

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Master_of_Kung_Fu_Vol_1_22Giant-Size_Master_of_Kung_Fu_Vol_1_2Master of Kung Fu #22 sees the welcome return of artist Paul Gulacy who came and went a bit in these early issues. The first half of the story sees Shang-Chi set upon by Si-Fan assassins at a Chinese restaurant in New York before infiltrating his father’s skyscraper base of operations. Fu Manchu has captured both Sir Denis Nayland Smith and Black Jack Tarr. Shang-Chi stows away aboard Fu Manchu’s private jet unaware of their destination. Once on the ground, he follows as his father’s minions lead their captives to a cave in the side of a mountain which has been filled with dynamite. Shang-Chi rescues the two Englishmen and prevents the detonation which would have seen Fu Manchu kill his archenemy in the same instant he destroyed Mount Rushmore. Doug Moench, like Steve Englehart before him, has an embarrassment of riches that are largely squandered with insufficient page count to fully develop his narrative. This would soon change, however, and make the series one of the finest published in the 1970s.

Most of Marvel’s Giant-Size quarterly titles were throwaways, much like too many of their special Annual editions, but Giant-Size Master of Kung Fu #2 was a 40-page epic designed to showcase both the character of Shang-Chi and the talents of the series’ writer and artist, respectively. Doug Moench had been harboring a desire to address racism and bigotry directly and a series with an Asian protagonist gave him the perfect forum to do so. Paul Gulacy now had the freedom to display martial arts fighting as well as moving displays of romance and longing relying solely on the power of his images in a string of panels that conveyed storytelling free of words. Even more significant is the fact that Gulacy’s depictions of lust and attraction never pandered to titillation as the artist evinced a mature understanding of the art form’s possibility. The fact that he was strongly influenced by cinema and Steranko’s pop art work of the 1960s take nothing away from the fact that Gulacy was coming into his own as an artist with this title.

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The Flaw in Everything: Warren Ellis’ Karnak the Shatterer

The Flaw in Everything: Warren Ellis’ Karnak the Shatterer

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karnak2cov-e50d0It’s the best part of the reading experience to run across a story with a new voice. Warren Ellis, of The Authority and Transmetropolitan fame, has assumed various voices, but I love his newest one: the narrative perspective of Marvel’s Karnak the Shatterer, a character associated with the Inhumans.

The Inhumans, created by Stan Lee and Jack Kirby, have been around since The Fantastic Four was in double-digits. Some of you may recall that Karnak is the one with the big head and the super-effective karate chops because his special talent is finding the structural flaws in things.

(Although, to be accurate, Karnak isn’t technically an Inhuman because was never exposed to the Terrigen mists — bring that up at a dinner party for a No-Prize!)

Over the years, Karnak’s powers and perceptions have expanded to include seeing the flaws in arguments, concepts, and people. His greatest achievement is finding the flaw in death, thereby returning from the dead.

It may sound a bit blithe to say it that way, but Karnak’s philosophical viewpoint has been strengthened over the years and bears some thematic resemblances to people like Iron Fist’s warriors of K’un-Lun or the Ancient One (of Dr. Strange fame).

The Inhumans of course, have been increasing in their importance in the Marvel Universe. I’ve seen internet theories that Marvel is downplaying the X-Men while up-playing the Inhumans, because Marvel doesn’t hold the X-Men movie rights.

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Space Gods: From Tin Foil Hats to Marvel’s Eternals

Space Gods: From Tin Foil Hats to Marvel’s Eternals

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Kirby’s ever-energetic and inventive art.

In 1968, around the time that 2001: A Space Odyssey was in theaters, booksellers had Chariots of the Gods? Unsolved Mysteries of the Past, by Erich Von Daniken. It was such a big seller that I had no trouble acquiring a second-hand copy for 25 cents in the mid-1980s, and even as a thirteen-year old, I couldn’t make it more than a few pages into its soft-headed nonsense.

Von Daniken’s thesis of course was that the pyramids, Stonehenge, the Nazca Lines, and so on were beyond the abilities of previous civilizations, and required visiting space visitors to explain their existence.

Part of Von Daniken’s “evidence” is that the artistic styles we see in previous civilizations are better explained as ancient peoples depicting the space suits of their alien visitors. Big toke time.

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