Len Wein, Steve Gerber, Sal Buscema & others
Essential Defenders volume two (1976)
The material in the previous massive volume finished before the Defenders' first sense shattering encounter with the Wrecking Crew, a team of demolition themed supervillains led by a guy who brains people with a crowbar. This was a story I was able to remember reading during childhood which must therefore be deemed classic - just like all those five star Terrance Dicks masterpieces - and thusly did I make purchase of this second volume, oh stout yeoman of the bar, collecting material dating to no later than 1976. The Defenders, as my fellow Dennis Nordens will fondly remember, were a bunch of superheroes who just happened to hang out together rather than a formal team - Doctor Strange, the Hulk, Prince Namor, the Silver Surfer, Valkyrie - who used to make me feel a bit funny in the trousers when I were a lad - Nighthawk, Luke Cage, and others.
Although the gang are settling into a bit of a crime-fighting, foe-bashing routine in this one, it's not without a certain sparkle of inspiration even if the shine has come off the sheer weirdness of earlier issues to some extent. Unfortunately, the problem seems to be that most of these issues are written by Steve Gerber, and while he's undoubtedly inventive, he tends to bog the strip down with an exhausting quota of exposition, mostly in chatty Marvel Shakespearean to the point of it becoming a chore. It may have worked in monthly instalments, but issue after issue in quick succession begins to feel like homework, and there's so fucking much of it that a couple of issues apparently needed actual pages of just prose text set in two columns as they would be in a digest. The problem becomes rudely obvious when three significantly lighter issues of Marvel Team Up written by Gerry Conway punctuate the main sequence of the title comic.
All the same, this was still well worth a look, and the punch up with the Wrecking Crew was at least as much fun as I remember it being. Luke Cage seems a bit of a blaxploitation cliché with hindsight, but Marvel redeemed itself by at least featuring black characters, even setting the Defenders against an overtly racist white nationalist organisation at one point, while class and privilege are criticised by agency of Nighthawk - actually one of those eccentric millionaire turned nocturnal crime fighter types; not that you would read this for the sake of social justice issues unless you're a fucking idiot. As with much of what Marvel produced in the seventies, this stuff was actually pretty weird on close inspection, and so retains most of its charm.
Showing posts with label Sal Buscema. Show all posts
Showing posts with label Sal Buscema. Show all posts
Monday, 26 April 2021
Essential Defenders volume two
Tuesday, 9 February 2021
Essential Defenders volume one
Roy Thomas, Steve Englehart, Sal Buscema & others
Essential Defenders volume one (1974)
My guess would be that someone at Marvel noticed all those extraneous superheroes they had laying around making the place look untidy and decided to hoover a few of them up into brand new superteams, just like the Avengers, so as to maximise something or other. Then a couple of years later they reprinted this one in black and white weekly instalments in a UK comic called Rampage. I'd recently experienced something of an epiphany for the form, having discovered 2000AD just a few months earlier. I'd always felt well disposed towards Marvel from afar, but there were too many titles and most of them had been going for yonks. Rampage therefore represented an opportunity to get in on the ground floor. Each week featured half an issue of the Defenders plus reprints from the Nova comic book. It was pretty great as I recall, but went monthly after less than a year, changed format and lost me to the extent that I almost forgot all about it - which was weird. When John Byrne introduced Xemnu the Titan to his run on She-Hulk at the end of the eighties, I knew the guy looked sort of familiar but had no idea where I'd seen him.
So I picked this up partially as an experiment to see how much I could remember forgetting, if you see what I mean, and partially because I'm a middle aged man who is screened for colon cancer to a yearly schedule so it seems only natural that I should be purchasing seventies superhero comics aimed at twelve-year old boys.
Marketing aside, the premise of the Defenders was the assemblage of supertypes who otherwise tended to go it alone - Dr. Strange, Prince Namor, and the Hulk for starters, meaning a lot of what transpires is usually the other two trying to explain things to the big green thickie in hope that he'll thump someone. This big fat paving slab additionally kicks off with issues of solo comics which foreshadow events in the initial run of the Defenders, and it makes for a surprisingly satisfying and thematically consistent whole. Additionally, it's all quite revealing in terms of what made Marvel tick in the early days, or at least what made it so much more appealing than all those frowning boy scouts and hall monitors over at the distinguished competition. Marvel's roots, at least on the evidence of this lot, seem to lay with all those horror comics that Wertham had pulled from the shelves. Marvel's superheroes always seemed to have a bit more texture to me, and it seems because they're mostly Gods and monsters, misfits who could never have held down normal jobs as mild-mannered reporters; and thus do we open with a sixties issue of Dr. Strange which quotes H.P. Lovecraft and introduces the Nameless One, a two-headed extra-dimensional tosspot who seems very clearly descended from the weird fiction of the twenties and thirties. In fact, even once we fully ease into the era of men in tights, or at least the era of a percentage of those men present wearing the same, the Defenders remains satisfyingly odd and quite difficult to predict.
The art is mostly top shelf, and is particularly striking in black and white, and Ross Andru and Bill Everett's work on A Titan Walks Among Us! from Marvel Feature #3 is downright gorgeous even aside from being the place where I obviously first met Xemnu - and boy, some of those panels leapt right off the page to kiss me in the centre of the forehead.
Additionally we have the Avengers-Defenders war, which drags on a bit, but is probably significant in foreshadowing all those headachey multi-title and allegedly sense shattering crossovers of the eighties, Secret Crisis and all that; despite which, this thing is still very much to be recommended. I thought it would probably be at least an interesting curiosity, but it's fucking magnificent for the most part.
Tuesday, 5 March 2019
The Man Called Nova
Marv Wolfman, Sal Buscema, Carmine Infantino & others
The Man Called Nova (1979)
My first encounter with Marvel was at junior school. Mark McFarland showed me a couple of loose pages presumably torn from the back covers of English Marvel reprints, magazine size but glossy with full colour images of Iron Man, Dr. Strange, Captain America and others. It was the first I'd heard of these characters and I found them fascinating and bizarre, and I was apparently young enough to be uncertain as to whether or not these were actually real people. I understood that they crossed over into each other's stories, and were logically therefore distinct from the imaginary characters seen on Doctor Who, Star Trek and so on. There was a mystery here.
By October, 1977 I was old enough to have realised that the Marvel universe was a fictitious creation spread across a number of titles, and Marvel UK was printing Rampage. It seemed like a good place to start given that I could afford both Rampage and 2000AD on my pocket money, and whilst the other Marvel titles looked amazing, I doubted I'd be able to pick up stories which had already been running for several years. Anyway, Rampage was where I first read the adventures of Nova, so I picked up this collection out of the usual blend of nostalgia and curiosity.
I'm now at least four decades past the reading age for which it was written, but it remains a nevertheless pleasurable experience. Nova is the typically implausible tale of a neurotic American teenager who inherits the powers of a centurion in the galaxy spanning Nova Corps and thusly fights crime - an obvious choice given that he lives in a neighbourhood where a bank robbery takes place roughly every four hours. Muscles bulge as pantomime bad guys deliver portentous speeches, and combat is embellished with strings of creaking puns and comic put downs, so there's a lot to The Man Called Nova which is almost painfully familiar; but its appeal comes from the telling in combination with numerous weird little deviations from the supposed formula.
For a start, where the art is good, it's good enough to eclipse a few lapses in narrative momentum. The first two issues, drawn by John Buscema and inked by Joe Sinnot, are as startling as anything by Jack Kirby; and while Carmine Infantino's run on the final ten issues prior to cancellation occasionally suffers from ill-fitting inks, where the balance is struck, it's frankly fucking incredible; and at its best, Infantino's Vorticist space opera is breathtaking to the point that it almost doesn't matter what he's drawing.
Nova was written by Marv Wolfman, so it's not entirely shoddy, and that which Infantino illustrated was seldom entirely without some charm of its own. As has been said before, Nova is basically Spiderman what with his agonising over grades and family life, but Wolfman avoided a straight photocopy, throwing in peculiarities such as Richard Rider - who inherits the mantle of Nova - being something of a dimbulb with his high school nemesis cast as the one with the brain and the exam results.
Moore, Morrison and others have often praised the archetypal weird sixties comic book in which the Flash spends an entire issue as a paving slab - for one example - but I'm beginning to wonder if there was truly ever such a thing as the dull, workmanlike comic book against which the former is routinely compared as an idiosyncratic explosion of wild imagination. The seemingly unpromising Man Called Nova gets pretty screwy in places, such as when our hero visits Marv Wolfman at the Marvel offices to discuss what will be coming up in forthcoming issues; or when Bobby Rider builds a robot Sherlock Holmes - complete with deerstalker and pipe - tasked with deducing what his elder brother gets up to in the evening. Additionally, there's a slightly sketchy quality to the storytelling, one which may only be apparent over multiple issues, but which gives an impression of plot details occurring without obvious cause, and there is much which seems left unexplained - not least being where the fuck Shuffles - Nova's peculiar Huggy Bear analogue - came from. For whatever reason, this causal deficit, rather than being to the detriment of the story, simply enhances its unpredictable rhythm.
The Man Called Nova could have been tighter or more consistent and maybe it would have lasted beyond twenty-five issues. Maybe it's the loose narrative swerves and possibly unwitting hokey touches which doomed it to an early cancellation, yet it is this same texture which makes the book engrossing four decades later; and if it was never going to win awards, Nova is anything but the generic superhero landfill you might have anticipated.
The Man Called Nova (1979)
My first encounter with Marvel was at junior school. Mark McFarland showed me a couple of loose pages presumably torn from the back covers of English Marvel reprints, magazine size but glossy with full colour images of Iron Man, Dr. Strange, Captain America and others. It was the first I'd heard of these characters and I found them fascinating and bizarre, and I was apparently young enough to be uncertain as to whether or not these were actually real people. I understood that they crossed over into each other's stories, and were logically therefore distinct from the imaginary characters seen on Doctor Who, Star Trek and so on. There was a mystery here.
By October, 1977 I was old enough to have realised that the Marvel universe was a fictitious creation spread across a number of titles, and Marvel UK was printing Rampage. It seemed like a good place to start given that I could afford both Rampage and 2000AD on my pocket money, and whilst the other Marvel titles looked amazing, I doubted I'd be able to pick up stories which had already been running for several years. Anyway, Rampage was where I first read the adventures of Nova, so I picked up this collection out of the usual blend of nostalgia and curiosity.
I'm now at least four decades past the reading age for which it was written, but it remains a nevertheless pleasurable experience. Nova is the typically implausible tale of a neurotic American teenager who inherits the powers of a centurion in the galaxy spanning Nova Corps and thusly fights crime - an obvious choice given that he lives in a neighbourhood where a bank robbery takes place roughly every four hours. Muscles bulge as pantomime bad guys deliver portentous speeches, and combat is embellished with strings of creaking puns and comic put downs, so there's a lot to The Man Called Nova which is almost painfully familiar; but its appeal comes from the telling in combination with numerous weird little deviations from the supposed formula.
For a start, where the art is good, it's good enough to eclipse a few lapses in narrative momentum. The first two issues, drawn by John Buscema and inked by Joe Sinnot, are as startling as anything by Jack Kirby; and while Carmine Infantino's run on the final ten issues prior to cancellation occasionally suffers from ill-fitting inks, where the balance is struck, it's frankly fucking incredible; and at its best, Infantino's Vorticist space opera is breathtaking to the point that it almost doesn't matter what he's drawing.
Nova was written by Marv Wolfman, so it's not entirely shoddy, and that which Infantino illustrated was seldom entirely without some charm of its own. As has been said before, Nova is basically Spiderman what with his agonising over grades and family life, but Wolfman avoided a straight photocopy, throwing in peculiarities such as Richard Rider - who inherits the mantle of Nova - being something of a dimbulb with his high school nemesis cast as the one with the brain and the exam results.
Moore, Morrison and others have often praised the archetypal weird sixties comic book in which the Flash spends an entire issue as a paving slab - for one example - but I'm beginning to wonder if there was truly ever such a thing as the dull, workmanlike comic book against which the former is routinely compared as an idiosyncratic explosion of wild imagination. The seemingly unpromising Man Called Nova gets pretty screwy in places, such as when our hero visits Marv Wolfman at the Marvel offices to discuss what will be coming up in forthcoming issues; or when Bobby Rider builds a robot Sherlock Holmes - complete with deerstalker and pipe - tasked with deducing what his elder brother gets up to in the evening. Additionally, there's a slightly sketchy quality to the storytelling, one which may only be apparent over multiple issues, but which gives an impression of plot details occurring without obvious cause, and there is much which seems left unexplained - not least being where the fuck Shuffles - Nova's peculiar Huggy Bear analogue - came from. For whatever reason, this causal deficit, rather than being to the detriment of the story, simply enhances its unpredictable rhythm.
The Man Called Nova could have been tighter or more consistent and maybe it would have lasted beyond twenty-five issues. Maybe it's the loose narrative swerves and possibly unwitting hokey touches which doomed it to an early cancellation, yet it is this same texture which makes the book engrossing four decades later; and if it was never going to win awards, Nova is anything but the generic superhero landfill you might have anticipated.
Tuesday, 14 July 2015
Guardians of the Galaxy: Tomorrow's Avengers
Arnold Drake, Steve Gerber, Gene Colan & others
Guardians of the Galaxy: Tomorrow's Avengers (1977)
Neither talking raccoon nor pugilist tree anywhere to be seen, this collection being a reprint of the original version of the Guardians, as previously reprinted in the English Star Wars Weekly back when I was a boy of the age group for which these strips were written and drawn. I liked the film a lot, but for me the Guardians of the Galaxy will always be these guys - Charlie-27, Martinex, Vance Astro, and the others.
Naturally I sought this out during a fit of nostalgia not entirely unlike that which recently inspired me to shell out on collections of old Captain America and Warlock comics. Happily it too seems to have stood the test of time in so much as that whilst the strips are very clearly aimed at boys of about twelve and not much older, at least psychologically, they work well within such limitations and with no obvious pandering involved. In fact, given that this is essentially a really fat kid's comic book, I'm surprised at how many days it has taken me to read the thing. This is because Guardians of the Galaxy was first published when Marvel was at its most wordy, each panel surmounted by loquacious captionage describing the contents of said panel in a voice combining Williams Shatner and Shakespeare or thereabouts; but the writing is of such standard as to resist the quality of parody even thirty or more years later. It's not Tale of Two Cities by a long shot, and one should keep in mind that Marvel's understanding of science-fiction was essentially capes, superpowers, and men frowning and saying behold! against a Kirby inspired backdrop of planets and cosmic forces, but there's nevertheless sufficient scope for plenty of pleasantly weird ideas - not the full on acid trip of Jim Starlin's Warlock, but coming fairly close in places.
Furthermore, Arnold Drake and Gene Colan's Earth Shall Overcome!, as reprinted from a 1969 issue of Marvel Super-Heroes - the first appearance of the Guardians - probably ranks amongst the strangest comics Marvel has ever produced - van Vogt-style evolved supermen inhabiting a harshly lit expressionist world of angles and half-seen horrors. It seems significant that Arnold Drake is probably better remembered as the creator of the similarly freakish Doom Patrol. Despite the promising start, the Guardians, so it would seem, lay more or less fallow for almost another decade barring uninspiring appearances alongside the Thing in Marvel Two-in-One and later The Defenders - all gathered here - before really finding their feet with the material which was eventually reprinted in Star Wars Weekly; and for a kid's comic which still reads like a kid's comic - aside from it being difficult to process issues of The Defenders without being reminded of Daniel Clowes taking the piss out of that sort of thing - it has generally aged very well.
Guardians of the Galaxy: Tomorrow's Avengers (1977)
Neither talking raccoon nor pugilist tree anywhere to be seen, this collection being a reprint of the original version of the Guardians, as previously reprinted in the English Star Wars Weekly back when I was a boy of the age group for which these strips were written and drawn. I liked the film a lot, but for me the Guardians of the Galaxy will always be these guys - Charlie-27, Martinex, Vance Astro, and the others.
Naturally I sought this out during a fit of nostalgia not entirely unlike that which recently inspired me to shell out on collections of old Captain America and Warlock comics. Happily it too seems to have stood the test of time in so much as that whilst the strips are very clearly aimed at boys of about twelve and not much older, at least psychologically, they work well within such limitations and with no obvious pandering involved. In fact, given that this is essentially a really fat kid's comic book, I'm surprised at how many days it has taken me to read the thing. This is because Guardians of the Galaxy was first published when Marvel was at its most wordy, each panel surmounted by loquacious captionage describing the contents of said panel in a voice combining Williams Shatner and Shakespeare or thereabouts; but the writing is of such standard as to resist the quality of parody even thirty or more years later. It's not Tale of Two Cities by a long shot, and one should keep in mind that Marvel's understanding of science-fiction was essentially capes, superpowers, and men frowning and saying behold! against a Kirby inspired backdrop of planets and cosmic forces, but there's nevertheless sufficient scope for plenty of pleasantly weird ideas - not the full on acid trip of Jim Starlin's Warlock, but coming fairly close in places.
Furthermore, Arnold Drake and Gene Colan's Earth Shall Overcome!, as reprinted from a 1969 issue of Marvel Super-Heroes - the first appearance of the Guardians - probably ranks amongst the strangest comics Marvel has ever produced - van Vogt-style evolved supermen inhabiting a harshly lit expressionist world of angles and half-seen horrors. It seems significant that Arnold Drake is probably better remembered as the creator of the similarly freakish Doom Patrol. Despite the promising start, the Guardians, so it would seem, lay more or less fallow for almost another decade barring uninspiring appearances alongside the Thing in Marvel Two-in-One and later The Defenders - all gathered here - before really finding their feet with the material which was eventually reprinted in Star Wars Weekly; and for a kid's comic which still reads like a kid's comic - aside from it being difficult to process issues of The Defenders without being reminded of Daniel Clowes taking the piss out of that sort of thing - it has generally aged very well.
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