Volume 48: Marvel Zombies (2006)

Marvel Zombies

Author: Robert Kirkman | Illustrator: Sean Phillips

"Whoever makes the kill gets double rations."

A post-apocalyptic, alternate world spin-off from a story that appeared in Ultimate Fantastic Four (#21-23).

I don't believe that putting zombies into something automatically makes it better; more often than not it makes it worse.

The zombie metaphor has been done to death (no pun intended) and outside of the early George A. Romero films it's mostly been done badly. Marvel Zombies sets a new low, even for Marvel.

It's written by Robert Kirkman, the guy that writes The Walking Dead. I've not read TWD. But it’s been selling well, so I'm assuming it’s a lot better than MZ. And I sincerely hope it's better than TWD TV series.

The plot is as thin as something I'd write. The heroes/villains are hungry. There's some gore. They eat. They get hungry. There's gore. They eat. They get hungry, etc. Yawn.

The book collects together Marvel Zombies #1-5.

Verdict:

Volume 32: Marvel 1602

Marvel 1602

Author: Neil Gaiman  | Illustrators: Andy Kubert / Richard Isanove

"Sir Nicholas is our intelligencer, Doctor. All the plots and counterplots, all the words whispered and knives in the dark are his to unravel and employ. He does his job well —"

Also known simply as 1602, the eight-issue miniseries places a number of Marvel's most popular (and overused) heroes in the year 1602; not in a dodgy time travel scenario, but in an alternative telling wherein they exist separately in various roles and across various lands, but mostly in Elizabethan England. It's how the beginnings of the extended Marvel Universe might've been had it happened in a more distant time period, a kind of comic book 'what if...?' story.

Not all reinterpretations of characters are instantly recognisable. Some of the names are even changed by various degrees of subtlety in a bid to keep readers guessing (e.g. Count Otto von Doom, although it's one of the easier ones). So as not to spoil the surprise for anyone who would rather not know which characters actually feature in the book, I've left off the relevant labels on this post, instead using 'Crossover' as a basic coverall term.

It's difficult to explain why the story bored me without venturing into spoiler territory, so I'll say only that the coming together of different parties and the uncovering of truths about each one weren't at all interesting to me, stretched as thin as they were... and I'm confused about why the flying reptiles were there. I know there are people who adore everything Gaiman writes, regardless of its quality, but more cautious and/or frugal fans of his work might want to attempt borrowing from a library before throwing actual money down.

This is the part where I once again wish that from day one of this blog I'd decided to give separate scores for story and art, because Andy Kubert's art and Richard Isanove's colouring are both wonderful, achieved in the same manner as it was in Volume 26: Wolverine: Origin (for the record, it'd get five big thumbs both times), but my scores need to reflect true feelings about the book's re-readability so that in the future it can be an accurate guide as to which volumes to keep and which to dispose of. With that in mind...

The book collects together the entire first Marvel 1602 story, i.e. #1-8.

Verdict:

Volume 16: The Mighty Thor: In Search of the Gods

The Mighty Thor: In Search of the Gods

Author: Dan Jurgens | Illustrator: John Romita Jr.

"[T]hough I be a warrior born—'tis time for this battle to end!"

The first chapter (or issue) is an Avengers episode in all but name, which means we have a team-based fight that's all pomp and bores me rigid. Things don't look good for Volume 16.

But as it goes on the focus begins to shift, or rather to divide. A number of determined paramedics, the unsung heroes, attend to civilians that are caught in the crossfire created by the superheroes' battle with villain of the week. The one we're most concerned with is Jake Olsen. Jake's struggle to help the wounded is contrasted with the Avengers' struggle to vanquish the evil, and, unsurprisingly, it's the little guy doing a big job that's the most interesting of the two events. Even though Jake plays a crucial role in the story, that's all I'm willing to say about him because I hate spoilers and to say anything further would be edging into that realm.

Thor's life isn't all roses and cake, either. Asgard lies in ruins. It's one thing to be alone on Midgard, missing the familiarity and the friends of his homeland, but to discover that your home is gone should you ever need to return is something else entirely. He feels orphaned, abandoned, and is driven to find out who caused the destruction of the once great kingdom and why.

Along the way there's plenty of the 'methinks, alas, ye, and hath' language use to keep people who enjoy that kind of thing happy. The God of Thunder is even able to speak in different fonts, which is quite a talent. I'm not criticising; it is what it is and it has a purpose. What's important is that it's done well. And credit to Dan Jurgens, at the end of the day, despite the Avengers intruding, Thor's conviction really shines through and that makes it a success.

The book collects together The Mighty Thor (Vol 2) #1-7.

Verdict:

Volume 13: Marvels

Marvels (1994)

Author: Kurt Busiek | Illustrator: Alex Ross

"I was learning a great deal about the world, and even more about the pain of a forced solitude.
I was aware of everything... understanding nothing."

The individual stories that Marvels was originally envisioned to tell would've been interesting reading, but the unified, multi-layered work that it became is something very, very special. Writer Kurt Busiek cites Tom DeFalco as the man that provided inspiration for turning many ideas into one idea, so kudos also to him.

It revisits iconic comic moments that span 35 years (1939 to 1974) by exploring those events from the perspective of the regular people that were directly affected by them. It's the Everyman story entwined with the story of a world unprepared for the threats that face it.

The eyes and voice of the work belong to Phil Sheldon, a freelance photo journalist. Phil can't climb walls or shoot fire from his fingertips, he can't even protect himself from being swept up by a changing public opinion, but when the superheroes begin to bleed into society he's there to capture it with his camera. Sheldon embodies the fear, awe, and confusion that grips a person as they watch two 'Marvels' fighting for dominance, tearing up a city like it was paper.

Flipping the perspective from the heroes and villains to the common man replaced the usual metaphor device with a more overtly relatable truth. It emphasised the choices and consequences forced upon the ordinary citizens thrust into a world they'd no control over.

I wasn't familiar with all of the storylines that played out upon the city like a canvas, but it didn't matter, the book is written in such a way that a lack of knowledge doesn't exclude you from Phil's story. Even if Marvels is the first comic book you've ever read, it still astounds. It's a love song to an age of comics that can never be repeated, and a genre breaking advancement in narrative that works on many levels.

It's also notable for being artist Alex Ross' comicbook début. His fully painted art style is unmistakable. Using people as character models helped capture a sense of dynamic realism. His heroes are truth exaggerated but never twisted into impossible forms.

The book collects together Marvels #0-4.

Verdict:

Volume 06+07: Marvel Super Heroes: Secret Wars

Marvel Super Heroes: Secret Wars

Author: Jim Shooter  |  Illustrators: Mike Zeck / Bob Layton

"You remind me of a lady bouncer I used to know."

The first arc in the series to feature a large crossover event and also the first to be split over two volumes. That's as exciting as it gets.

A powerful entity whisks a bus-load of heroes and villains away from their usual surroundings and deposits them on an alien world to do battle. Many of the good guys can be seen on the cover of the book (left), so I won't go over them all again. The bad guys are Dr Doom, Doctor Octopus, Ultron the Gobshite, and a few more B-Listers that would get paid buttons if it was a film and not a comic they were in.

By the end of Part 1 (Volume 06) I was of the opinion that maybe the Secret War should've stayed secret, like a shame, because it hadn't managed to do anything worthwhile in that time. It was originally a monthly comic, so after six issues (six months!) you'd expect at least something worth the time taken to collect and read them. Nope.

It mentions in the back on the book that it was originally conceived as a way to promote a joint Marvel and Mattel toy line. (Mattel were the folks who produced Masters of the Universe.) The actual story was a secondary concern. That explains a lot. It's a multi-part advert.

Rarely does anyone just speak in Marvel comics, they exclaim everything. When dialogue flows nicely it can detract from the overuse, but SW's is so awful that it heightened my awareness of it. I didn't hunt for the best example to prove a point, I simply chose one random page and this is what I got: two people in a room together, no one else around, six panels of equal size, twenty-five exclamation marks. There's a fine line between adding drama and being outright ridiculous. Jim Shooter left that line in tatters. It's fucking stupid.

When it was time to read Part 2 (Volume 07) I was close to despondency but determined to continue. And, thank the gods of turnaround, things improved. The fighting was still tedious but wasn't always just filler - there was actual consequences this time, some of which were continued into each hero's respective individual title. A few of the protagonists even had their emotional state altered or affected. Bloody hell! Secret Wars had justified its existence. (But that doesn't exonerate it, because it's still crap and could've easily achieved the same result in 6 or 7 issues.)

Volume 06 collects together Marvel Super Heroes: Secret Wars #1-6; Volume 07 collects #7-12.

Verdict: