Captain Britain #10-15 "Vampire state"

"Captain Britain and the MI13" is the name of the recently cancelled Marvel title. Written by Paul ("Dr. Who") Cornell and pencilled by Leonard ("Supergirl") Kirk, it was basically the company's latest push in trying to bring in a more diverse readership, by once again proposing the concept of an English team of superheroes. Seemingly aware that on their own, these decades-old characters cannot hold their own series, the company has seen fit to try to brand it as an X-Men title in the past. The most recent example of this was the cancelled "Excalibur" series Chris Claremont wrote, and Paul Cornell was to continue. After trying the new incarnation of the team out in the "Wisdome" mature-readers mini-series, the company finally green-lighted the writer's take. Launching as part of the "Secret invasion" crossover, Marvel tried their best to support Cornell's idea and further differentiate their super-hero line. During the very next story-arc, the Internet saw rise of the rumours announcing the book's untimely demise, followed by contradictiong reports made by the editorial. The confusion was ultimately settled, and the book continued with the plans to produce it's new story-line. Unfortunately, printing "Vampire state" with no sales gimmicks and little noticeable marketing push, doomed the book's most ambitious and complex arc to remain the last chapter of this incarnation of "Captain Britain and the MI13".

On the face of it, the book was nominally set on spotlighting Captain Britain. Basically a Superman analogue, the character has been around since the late seventies, and is arguably the most famous Marvel UK creation. His adventures have been wide and varied, but usually somewhat fantasy related, making him also similar to Captain Marvel, once wildly popular in Britain. Due to the various revamps and status quo changes, the character has built up a severely complicated back story, making him even harder to introduce to the new readers. Cornell and Kirk solved this problem in the title's very first arc, by giving him a new start. By "Vampire state", the patriot symbolism has been downplayed, represented almost solely by his costume. Effectively, portraying Captain Britain as a love-sick veteran superhero powerhouse, the creators have him play the team's Superman figure. 

Yet it is by blending together the title character among his colleagues, that Cornell manages to concentrate on MI13 as a group. The writer's approach to the characterisation of the rest of the cast is to give them all a defined role to play, and about the same amount of focus. Naturally, Pete Wisdom takes the lead, as a somewhat more relatable character, as well as much more in keeping with the book's general approach. A stock Warren Ellis character type, Wisdom has been kept in heavy circulation long since his creator has stopped using him. Having him lead MI13, Marvel has given it's fans a notice that they're dealing with the spy/superhuman hybrid book. As such, it plays down Wisdom's superpowers, focusing on his ability in managing a unit of superheroes. By letting Captain Britain remain a field leader, Ellis' creation is better served as the team's agent when dealing with the government. This does not marginalize the character per se, but leaves him with little subplots of his own. In "Vampire state", this means the very start of a romance, that will probably remain undeveloped due to the book's cancellation. Thankfully, as with many other aspects of the final arc, the nature of the relationship is set up in such a way that it is not hindered by this unfortunate turn of events.

Due to the nature of the storyline, Jacqueline Falsworth gets to be spotlighted in a more direct way. The creators use the vampirism fostered upon her in a rather arbitrary continuity decision as a crucial piece of setup, and a credible reason for the reader to witness scenes of villains' scheming before they meet the rest of the team head-on. Interestingly, the creators play down her role as a WW2 heroine, along with her original superhero nickname of Spitfire. For the reader uninitiated in decades old stories, she comes off as no more than a reluctant vampire, which goes a long way for explaining longevity, and the complicated relationship she starts having with Blade.

Adding the character made famous by movies was a strange decision, with Blade appearing in the second arc on the strength of his almost forgotten English ancestry. Unfortunately, despite repeated proclamations of his importance, the character remains an arbitrary addition. Of course, as a "Tomb of Dracula" regular, it makes sense that he would appear, and Cornell and Kirk use Blade's previous associations to bring the rest of the cast to a crucial plot point. Still, his role could have been filled more naturally by Union Jack, a vampire hunter himself, and Jacqui's long-time lover. On top of being one of the more recognisable British superhero characters, Joe actually appears in "Vampire state", trying to find a way to work with Blade during the emergency. In any event, this is just another unsuccessful attempt by Marvel to replicate something of the Wesley Snipes version of the character, while the readership continually ignores their focus on the character.

The team is rounded out by Black Knight and his protege Faiza Hussain, introduced in the first issue as the reader identification character. Her 1950s created mentor is almost never refereed to by his code-name, so it's a bit jarring when she earns the clunky "Excalibur" moniker. It is even more perplexing, when taking into account that Cornell's intimate focus on his principal cast means having them mostly call each other by their civilian names. Faiza is originally depicted as a naive superhero fan, that has her wishes come true as she starts developing superpowers. The writer and artist have brought her to life, by granting her with a civilian occupation, and detailed social life, that are both utilised in this storyline. The latter, epitomized by her family is crucial to "Vampire state", while unexpectedly her growth as a superhero feels rushed. It's clear that the creators had plans for a much slower development. 

In any event, the focus provided on creating a single new character in the book that is such a mixture of long-existing unrelated superhero concepts, leaves Marvel with a unique opportunity. Due to her ethnicity being dealt with in a very respectful way, the creators have given the publisher a heroine that is the example of unity. Faiza is an immigrant who has come to both love and respect her new country, going so far as to be willing to give her own life for the benefit of others. 

Her mentor the Black Knight, on the other hand, is a much more complicated concept, that jarrs with the book's tone. Originally created in an attempt to marry the more classical parts of British folklore with a play on typical super heroic secret identity, he was re-introduced seemingly only to be succeeded by Faiza. By keeping him around in the role of the teacher, and teasing a romance with his pupil, Marvel has effectively asked the readers to tolerate a couple fantasy concepts in an espionage-heavy book. As the more medieval of the two, Black Knight is at odds with the basic nature of the series, leading to his being kept out of the "Vampire state"'s plot minutiae. In a reversal to the typical comic book dynamic, he is defined by the female character. Unfortunately his very existence asks the readers to stretch their sense of belief even further, in an arc that already tries it's best to balance between mixing the genre for added effect, and falling into outright camp.His extremely complicated back-story is never really delved into, but the one bit that remains, that of his being cursed with a literal "heart of stone", may be the best example of asking the reader to accept too much of the unreal. In MI13 Black Knight is defined solely by his association with cursed swords, which has been much more effective during the initial "Secret invasion" tie-in arc. Forced to deal with a "Black Panther" continuity detail, Cornell has again chosen not to be intimidated by the inter-title confusion, deciding to incorporate the matter in "Vampire state". Unfortunately, the pick and choose method of using Marvel universe trivia to the best of his advantage, does not really gel with the rest of the plot in this instance, rendering the Ebony Blade's inclusion as even more terse than Blade's McGuffin.

A cursory examination of the cast reveals that a large amount of the book's drama hinges on the personal relationships. Literally, by the end of the story arc, all of the book's principal characters have started sharing romantic feelings for one another. This is, of course, a rarity in today's more violent comic book climate, but never feels unnatural or forced when reading the book. Due to the high stakes the characters live under, it can probably be explained that the cast found a refuge in physical relationships, but the only other example of social contact to be found in "Vampire state" is that of the respect Pete Wisdom feels for Captain Britain, as a more traditional hero, albeit with a heart in the right place.

It is to be commended that despite the myriad subplots, Cornell takes time to add some poetic color to the dialogue, cementing the fact that his characters are, first and foremost, human. In much the same understated way, both the writer and artist tackle the larger than life elements that define their heroes' lives, never forgetting to go that one step further to take note of the irony and the beauty inherent in MI13's dangerous lives. Unfortunately, the British charm found in abundance in the "Wisdom" mini-series never finds a place to truly enliven both Cornell and Kirk's United Kingdom. Strangely, it is supplanted by characters inviting each other to tea so frequently that it almost becomes a common shortcut getting them back to the Earth, if not a running joke of sorts.

Despite the charm to be found in the Marvel universe characters and settings, the backbone of the book's flavour comes from a very particular niche it tried to fit in. By positioning itself as a spy/superhero hybrid, it entered a field where few titles managed to make a permanent stay in. With "MI15", this does not only signify a slightly more violent genre take, with a more corporate headquarters, but a real thought-out, military strategy in a world of fantasy. Thus, Cornell and Kirk's characters have to maintain their guard against the unchecked forces of unreality, using cost-heavy spells, and dealing with the other branches of the government's secret service. With the real world (of spy movies) as the main reference point, the superhuman defenses and launch-codes make up a somewhat realistic background for the frequently unbalanced portrayal of similar ideas in science fiction.

Still, when dealing with a full-scale supernatural invasion, this kind of scenario comes with a potential problem. Does coming up with vampire suicide bombers turn an innocent offbeat superhero book into an offending piece of caricature? Perhaps not, when the book already purports to introduce an imaginary government department determined to put a stop to the threat to the enemy, depicted in no uncertain terms as evil incarnate. Taking into account the amount of care spent on rendering Faiza Hussain as a realistic character, it's probably the best to view the series' quasi-realistic bent as window-dressing for telling modern superhero stories.

The war fostered upon Marvel's England is thus more of a game of misdirection and constant twists and turns. One densely plotted scene follows another, with a constant stream of faces and movement going on in the background. The carefully built up characters lend themselves to action scenes that never feel gracious, despite sometimes feeling cut off. It is understandable then, that Leonard Kirk couldn't have produced the amount of work asked of him in the saga of this magnitude, and to be able to illustrate all of it. The reader is taken out of the story the moment he sees Mike Collins's pages, with characters that are very slender, sporting somewhat more caricatural facial features. Thankfully, Kirk works much more in concert with Adrian Syaf, giving way to a familiar unified art style. 

It is a necessary evil considering the need to keep a monthly schedule on a arc consisting of six issues, and literally hundreds of characters bursting from every panel. Once again, the creators seemingly embrace the restrictions of the superhero comics, by reminding the readers of some of the cult Marvel UK characters. Cameos aside, the main threat in the "Vampire state" comes from no less than Dracula himself, allied with a host of his undead nation. Despite the presence of Lilith and Captain Fear, both of whom work as opposite numbers for some of the MI13 team-members, the title's third arc shows a clear progression. Once again, the bulk of the fighting goes on with Skrull-like faceless drones, but Cornell and Kirk are not set on repeating Plotka's mistake as somewhat of an underdeveloped main antagonist. Sticking with the idea of combining the two approaches, the creators have made a gamble of getting behind the king of vampires as a gimmick that could attract the reader's attention. In retrospect, Dracula is shown to be a fearsome warrior, whose presence commands the arc. The authors are right in approximating that using the vampire to target the team makes the stakes seem that higher, but further analysis reveals this to be problematic from both story-point and the previous use of the character. Dracula's stated goals are not shown to be particularly Britain-oriented, as literally any country in the world could have provided the deeper folklore connection hinted at in his plan. Of course, his creator Bram Stoker set most of his novel in London, but following through on that kind of reasoning actually hurts Marvel's high concept. Despite the character's long-term use in the Marvel universe, he is of course a classical horror icon, wherein lies his notoriety and the novelty of using him in a story. The downside is that it renders "Vampire state" as no more than a piece of fan-fiction that benefits from the association with the better-known story.

As for Lilith, Captain Fear and even an unexpected appearance from someone in Jacqui's past, they are introduced providing for as little confusion as possible. As Dracula's pawns, their tasks are clearly outlined, with Kirk's designs to set them apart from the rest of the vampire's followers. A long-time reader of Marvel's various horror books will no doubt be familiar with some of them, but it is by no means a requirement, as Cornell's script once again gives all the information needed in terms of the story at hand.

It's clear that just as Leonard Kirk had his hands full with detailed layouts, the writer gave his all to craft a story that is bursting at the seams with attacks and counter-attacks, complex subplots, characters both famous and obscure, all the while trying and achieving a very particular genre dynamic. It is really impressive to see that amid all that, he still finds space to experiment with a page provided as if from an illustrated text-story. A dream sequence hidden in a very particular part of the story works to both raise the excitement, and tie-in with the previous story-arc in an unobtrusive way. Yet, despite the backing from the editorial, his is the story that most fans are just not interested in.

This is nowhere as apparent as in a short nod to the current "Dark reign" status quo of the Marvel universe at large. By effectively proving to be in vacuum as to the bulk of the continuity, theoretically "Captain Britain and MI13" to tell any kind of new and refreshing story, that is distinctively unique. Unfortunately, the company's own marketing department has worked for years to build a strong core of inter-related titles that it gravitates the fans to follow, in spite of the off to the side nature of the more experimental superhero titles.

That the creators' enthusiasm has remained on the level is perhaps best illustrated by an Annual, published after the announcement of the book's cancellation. A case could be made that the lead-story inside was to be a prelude for the next story-arc, perhaps even originally meant to be published as #16 in the series. It is possible that Marvel has scrapped such plans upon being disappointed by the sales on the title's final story line, relegating the long-teased return of Meggan to a strange and open-ended Special, tying awkwardly with "Vampire state". Going further with the analogy, one could surmise that the Annual's backstory, again teasing a potential Meggan-centered story-arc down the line, could have been originally produced as a short tale to be published on Marvel's "Digital Comics Unlimited" section of their website, hoping to interest the subscribers in the ongoing.

In any event, despite "Vampire state" finishing with a real ending that admittedly does not bother to tie up all the loose threads, it is actually the Annual that one must refer to as to how the book's future could have looked like, in it's current incarnation. In that respect, the reader is treated with a strange, magic-oriented story, featuring many of the company's lesser known villains. Patching his story up from unrelated bits of continuity, Cornell tries to get to the Meggan's mercurial psyche by building a real theme to her life. This particularly comes of as difficult to process, when told in fairytale fashion of Meggan dealing with the externalisation of her demons.

Of course, at this time it is not certain how different the whole storyline would have been, if it ever planned to be centered around Meggan, that is. The three "Captain Britain and MI13" story-arcs that have been published actually serve as a primer on what kind of tales the reader could have expected, and are satisfying when read as a whole, or even on their own. With the alternative possibly being a complete make over of the book, it is doubtful that this unprofitable version of the team would have been kept on the same track, should Marvel have decided to stick with the book after all.

The reasons for fans' indifference are, of course, numerious. Despite being seemingly inconsequential next to the more connected titles, it is a fact that neither any of these particular, nor the England of their setting, have ever led to a long and stable ongoing series that best serves the publisher's interests. The specific angle Cornell and Kirk have decided upon, while not the most comercially recognisible one, could have theoretically benefited a different book, that would be more to the liking of fans. Also, not to be forgotten, a large number of people have sampled both the initial issues, or some of the later ones, brought on by the title's status of something of a critical darling, and simply found it not to be to their liking.

This could very likely be due to the focus on the magical aspect of Marvel universe, that the publisher has been struggling for decades to attract it's audience to. It seems that most fans simply don't like their superheroes mixed up with the arcana, nor is the genre very popular on it's own at any of the smaller publishers. Despite the frequent outcries, the larger aspects of the superhero fandom have proven time and again what their tastes are, and truthfully there is little of them to be found in the book like "Captain Britain and MI13". Because while it possesses some of the blending with the traditional superheroic storytelling, blended with more violent and post-modern ideas, it was always going to be a niche title, for a particular aspect of fans, served by positive, intelligent superhero books like "Agents of Atlas", and "Incredible Hercules".

Working with their publisher, Cornell and Kirk had no choice but to tie up the possiblity of the hinted Meggan story into "Vampire state", and move on with their careers. Hopefully, at least the return of the back-story format to justify the higher cost of the existing Marvel books will provide a new home for the British super/spy team, and their strange, magical adventures.

Quest for the spark

Comic creators are by their very nature freelancers, meaning that even in the best of the times, they prefer to have several upcoming projects lined up in advance. With the global economical depression, the possibility of having paying work waiting on them for several months ahead would certainly seem in doubt for some of the more cynical authors. 

Speaking of American publishers, the predominant superhero giants are already working to the best of their ability, utilizing all of the characters in their libraries, at their most commercial. Yet, even among dozens of books they print each week, there exists an upper limit on the number of titles feasible in the market, thus limiting the options of the talent pool. What's more, the specific art style largely in vogue at both Marvel and DC is not something that most of the independent publishers looks upon with favour, or specialize in.

Of course, any of the established creators can always look forward to royalty checks made by reprinting their work, but there's no doubt that most of them seek current assignments, which would bring them a little more security in these hazardous times.

San Diego "Comic-Con" started off with the news that Jeff Smith, a world-renowned independent artist and publisher, has decided t continue the work that brought him most acclaim. The success story that was "Bone" is still being reformatted, actively bringing the younger readers to the field that has lost touch with it's original audience. With the advent of two new spin-offs, it would appear that Smith has decided to forgo the work on "RASL, his edgier current comic, in order to put all his energy into the all-ages title that he has made his name on.

For surely, even with his level of success in the American market, the decision to guide his career by sticking to his best-selling property currently seems the wisest one he could have made. After all, "Bone" has already had a couple of special projects added to it, notably the painted "Rose" graphic novel. But, it's actually "Stupid, stupid rat tails", that saw Smith teamed-up with writer Tom Sniegoski, which will set up the blueprint from the new stories. Reuniting the writer of the mini-series with the "Bone" creator is again, by all accounts, the business model that seems very stable, just like the announced publishing schedule.

Taking all this into account, perhaps some other creators will follow suit, deciding to come up with a strong creator-owned business plan. Despite the "Golden age" of comics being set firmly during the Great Depression, it is highly unlikely that the turbulent times will see the rise of new creations targeting wider audience. American Direct Market is very predictable in that it has exited for decades by servicing ever-dwindling fan-base that has time and again shown what it's tastes are. Therefore, presenting them with follow-ups to the rare successful creator-owned series seems like the most profitable idea outside the established systems of the dominant superhero publishers.

By their very nature, comics are a serialized form of entertainment, thus seeing spin-offs to the previously "finite" series seems like a very natural thing to do. In most cases, the creators of the series famous in 1980s and 1990s are still working, if not directly involved with the comics themselves, then a related entertainment field. And, not coincidentally, almost all of them look upon their own work with the same emotion that drew them towards comics in the first place, thus green-lighting just such a project wouldn't seem like such an unlikely idea. DC's "Vertigo" imprint has recently failed to negotiate the terms of Neil Gaiman returning to "Sandman", the comics series that brought him to fame. Reportedly, the writer and the editorial couldn't come to the terms with the salary he was to be paid for in order to script the prequel to one of comics' most acclaimed sagas.

Speaking of "Vertigo", a similar case could be made for "Preacher", the other of their best-selling series. In this instance, the creators have gone on record to note that they could not agree with the editorial regarding the printing of a very controversial special issue. In this instance, going back to rethink the publishing decision in light of the hopefully different censoring criteria, could potentially lead to rekindling the creators' interest to return to the property that was successful for everyone. With almost any longer narrative in sequential form, there has always been talk of developing the ideas hinted at, or discussed at some point in the series' history, which could potentially be reworked back into the original plan, instead of showing up in an unrelated project, where they would have to be marketed again.

Of course, the fan-interest would probably be the highest in the field of comics that were, for whatever reason, cancelled before the end of the their overarching story. By no means a rare occurrence, this unpopular method has seen a large number of critically-acclaimed work stand to this day uncompleted. In some instances, the very publishers who have given up on the titles because of the financial losses, have seen a new revenue stream by reprinting the work in question. Which brings even the most benevolent editor to a real task, gauging whether there is a chance to attract new readers to reengage a once cancelled classic series. Despite all the good will, this would seem to be a near-impossible task, also serving to demonstrate Steve Rude's financial difficulties related to his efforts to complete the long-in-development final act of "Nexus".

And that is discussing some of the most famous genre work produced in America in the last twenty years. Discounting the creators' decision to stem off the crisis by returning to some of their less famous assignments, they would still face an up-hill battle in today's market. But even when their most successful projects were independent comics some of them still managed to continue engaging the audience for year after year, like Terry Moore's "Strangers in paradise". The possibility of a return to the known quantity in American market, whether for actual creative reasons, or purely to behind the power of an already built franchise, could in the long run prove very opportune to both the creators and their readers.

Granted, "Bone" is pretty much unparalleled in the level of widespread interest it has generated, but that should not necessarily discourage fellow cartoonists. Actually, for that same exact reason, following upon any of Jeff Smith's business moves should seem like a very sound advice. And that's not even taking into account the cross media interest that could result from the creators returning to their signature work.

Ultimate Wolverine vs Hulk #1-6

"Ultimate Wolverine vs. Hulk", Marvel's long time in development project has recently been completed, making it a 6 part mini-series that took more than three years to come out. Spinning out of Mark Millar's "Ultimate X-Men" and "Ultimates", the imprint's best-selling titles, the nominal goal was presumably to recreate Wolverine's historical first appearance of main Marvel superhero universe. Due to the increased profile the more mainstream friendly Ultimate versions of their characters had, for a long time Marvel was very careful not to overextend it's imprint, building a brand name by hiring high-profile superhero talents, such as the Filipino-born artist Leinil Francis Yu. The company opted not to feature a traditional comics writer, but instead engaged the services of television's Damon Lindelof. 

Most famous for his work on "Lost", the writer ended up devoting so much of his time to the show, that his scripts started getting delayed further and further, up to the point where for all intents and purposes the series had been cancelled. Since that point, artist Yu has went on to collaborate with Brian Bendis on his "New Avengers" work, eventually ending up pencilling the company's 2008's "Secret invasion" event, with "Ultimate Wolverine vs Hulk" seemingly remaining only in the memories of fans, who kept asking the editorial about it at the comics conventions. And yet, upon completing his work on the high-profile project, Marvel revealed that Yu's next assignment would be finishing up the long-delayed Ultimate mini-series. Apparently, Lindelof has completed all of his scripts, making the company secure to finally green light the once-successful series once again.

Sticking to the project's intended goals, it's easy to see what Marvel was hoping to accomplish. Yu is a certified comics artist, well known for his detailed and dynamic style and has a history with Wolverine. On the other hand, Lindelof is a well-known comic-book fan, who has exhibited both the ability for capable non-sequential storytelling, along with well-developed characters in "Lost". Apparently, the publisher thought that pointing him to Mark Millar's approach would be enough to make this "Ultimates" spin-off a fun and interesting mini-series on it's own. Marvel is well-aware that the 1970s "Incredible Hulk"#180-181 is going to attract only existing fans, so recreating the story with incarnations of their characters more attuned to their counterparts, in a modern setting would have a much better chance of attracting new audiences. In any event, their hardcore fans would surely find the new story a capable read, particularly as a part of the successful "Ultimate imprint".

In retrospect, had it come out in the promised, bi-monthly fashion, the series would have had a much better chance of retaining the sales level it had when it debuted. But, even then, it is a project with some of it's own particularities. From the continuity point of view, the changes to the original Wolverine/Hulk meeting are perhaps the most visible part of the project. Clearly, substituting the "Department H" with SHIELD is a commendable idea, in keeping with the Ultimate universe streamlining the more familiar aspects of regular Marvel continuity. On the other hand, the absence of Wendigo is a glaring difference, but one that may in the end work to the story's strengths. Even in the story as over the top as "Ultimate Wolverine vs Hulk", the presence of arctic were-beast would be uncalled for. Substituting him with a Ultimate make-over of another, much more popular Marvel character, is a much sounder idea that the company could benefit from, working to the strengths of a tale, pitting two such large egos as Wolverine and the Hulk. 

Actually, Lindelof's story strips the original down to it's premise, of a government agency using Wolverine's services as a black ops soldier to quietly take down the Hulk, where the army and the other superhumans have failed time and time again. "Ultimate Wolverine vs Hulk" follows up on the Mark Millar and Bryan Hitch's "Ultimates II", but is actually very accessible to the readers with working knowledge of any incarnation of the Hulk. What's more, Lindelof makes almost no reference to "Ultimate X-Men"'s continuity, preferring to use an almost universal version of Wolverine, which is in keeping with the story's focus on Bruce Banner. Lindelof's exploration of Wolverine mostly stays on his distinctive character, with a couple of visual nods familiar to his longtime fans, in the way of his signature hat, and an eye-patch that he picks up on his visit to Hong Kong. Truthfully, most of the writer's fascination with the character seems to come from his regenerative abilities, which for once play a large part in the story.

The creative team actually spends most of the series convincing the readers that Wolverine is the only one capable of sustaining intensive physical damage, seemingly needed in order to have a prolonged conversation with the Hulk. Yu is a very capable penciler when it comes to depicting the gore involved in a way that is both very detailed, and yet nonsensical. This, of course, calls back to the "Ultimates", which managed to do all that and elect pathos, by having Hulk commit mass-murder. In contrast, "Ultimate Wolverine vs Hulk" sidesteps that particular stylistic conundrum by taking place in Tibet, effectively eliminating the possibility of human causalities. 

Lindelof effectively ties up some of Hulk's murders as a part of the joke at one moment, with Yu memorably depicting the monster as having a harem. The silliness of the situation shows how the creators are dealing with the story, positioning it's emotional center on the Bruce Banner/Hulk psychological dynamic, with the violence as the visual extension of the rage. Dissociated from some of the "Ultimates"'s intended depth, they actively work to make "Ultimate Wolverine vs Hulk" as much of a comic-book story as they can, with no real pretense of a political message. The story actually revels in it's immaturity, like a novice storyteller incapable of letting the best parts of his tale spill before he even gets to their place in the narrative. 

All of the book's outlook can actually be summed up in Yu's rendition of Bruce Banner, who is divorced from the neurotic look that Bryan Hitch gave him. The new penciler gives him a much more familiar heroic look, with chiseled features, of a more traditional comic-book hero, that is not really in keeping with the book's humour, but serves to further cement the book's dualistic nature. It's almost like Marvel is consciously gearing their Ultimate releases to appeal to an adolescent fan base, that is supposedly both thrilled by the superhero setting, but at the same time attracted to the garish jokes and scantly-clad females. This is nowhere more clear than in the sequences featuring Tibet as it may have existed in a distant past, in order to proceed with a couple of off-beat gags. Still, once the reader has embraced the story's stylings and internal logic, some of the more inspired touches can somewhat ease off some of the series' more exaggerations, with a wonderfully twisted dream sequence starring a panda as a particular highlight.

Still, most of the series goes for a particularly mixed violent tone, that is familiar to superhero readers, albeit defined by the constant jumps around in time. Similarly to Lidenlof's "Lost", but even more exaggerated, it seems like no two sequences follow each other chronologically, with the writer using a particularly fragmented method to control the pacing and choose to only spotlight the thematically linked events in each issue. That way, the creative team controls the pacing for the most impact, while also constantly hinting at forthcoming scenes that the reader should await on. Lindelof's story thus alternates between dialogue heavy, and somber scenes, entire issues of exposition, even, and their more fast-paced and explosive counterparts. As it stands now, it's difficult to judge what kind of story it would be like, had it been told in a more conventional chronological sense.

"Lost"'s influence extends to even to some Easter eggs, that seem to pile on in the later issues. It's not really jarring, but a fan of the show could start anticipating the visual references and actually get taken out of the story for a moment. Similiar to Kevin Smith's work, Lindelof's screenwriter frame of mind makes some of the characters discuss movies and make similar analogies much more often than usual for the comics, but not to an extent that would work to the detriment of the story.

As for the supporting cast, what little there is of it, they're all introduced to the story in a very organic way. Even a particular bit player with a role that is no more than a plot-device has been set-up in advance, making the story stronger and more realistic for it. Concentrating of the main females, both are given enough room to feel like somewhat developed characters of their own, with Yu's female physical model working in particularly against the script. The artist refuses to differentiate between the more intellectual, professor's body type and that of Hulk's fiancee, which bizarrely adds to the mystery about which one of the two will be revamped as the Ultimate version of a familiarly well-endowed Marvel character.

Of course, besides Wolverine and the Hulk, the other most notable character is Nick Fury, who ends up being the focal point of all the outside problems this series has had. Of course, both Lindelof and Yu present the familiar Ultimate incarnation of the character, as established in "Ultimate Spider-Man" and "the Ultimates", which has actually changed since the series debuted. Because, during the "Ultimate Power" crossover with the than popular "Squadron Supreme" series, Nick Fury actually left the Ultimate universe for the separate continuity of the JMS' series. Thus, all of his interactions with Wolverine and Hulk in this much-delayed mini-series actually take place prior to the Ultimate universe's current events. Not only that, but the haphazard decision to move Fury into a completely different series belay the problems that have befallen the Ultimate imprint since the days when "Ultimate Wolverine vs Hulk"#1 was first published. In that way, the Lindelof/Yu mini-series is perhaps the last example of Marvel actively hoping to build the Ultimate brand by contacting the high-profile talents, before contacting Jeph Loeb to try and set the new direction for the failing line.

And it's Nick Fury that draws the convoluted story to a close, after one too many McGuffin has appeared in it's finale. Fury leads the two of Marvel's icons to the tale's non-conclusion, the only possible event given their high-profile. For all of the shocks, reveals and heightened emotions, "Ultimate Wolverine vs Hulk" achieves little but introducing a related Ultimate character. Even the retelling of the original "Incredible Hulk" story is an afterthought, as the main selling point here are two of Marvel's most recognisable characters. Just like Nick Fury has recently returned from his sabbatical to the Ultimate imprint in Jeph Loeb's and David Finch's "Ultimatum", with #6 "Ultimate Wolverine vs Hulk" seems to have also completed it's inconsequential journey back to where it started.

In the end, Marvel has went to a lot of pains to ensure that the remaining fans see the completed story the editorial has planned with Damon Lindelhof more than three years ago, only to see but a smothering of their customers return. And even they already seem to remember it only for the high point of it's absurdity, an image of scarred Hulk tearing Wolverine in half, featured in it's 2006 debut.

Seth's "Clyde Fans" Books 1, 2

Gregory "Seth" Gallant is perhaps Canada's most prominent current cartoonist, turned graphic novelist. Since 1991, his work has been published in the "Palooka-Ville" one-man anthology, with new issues being published annually, due to the pressures of his day-job. And while working in advertising may take up most of his time, Seth has in recent years found enough acclaim to have his new project, "George Sprott" originally serialized in the prestigious "New York Times". Similarly to Chris Ware, Dan Clowes and Jaime Hernandez, published in the magazine's pages, his work is every bit as nuanced and personal, even if it may appear to be an acquired taste to the uninitiated reader.

"Palooka-Ville" started out with shorter stories, but quickly branched out to encompass Seth's first acclaimed work, the ambitious and memorable "It's a good life if you don't weaken". The semi-autobiographical story seemed to have more in common with a Woody Allen movie than a typical comic, but that didn't keep Seth from filtering through his unique style most of the major themes that he keeps focusing on. 

It was only two years later, that he started publishing his longest, and until today still uncompleted, work, "Clyde fans". Projecting to eventually release the tale in several editions, collecting the major chapters, Seth has in 10 years since beginning the work on the story, managed to finish only the first two, with the third and perhaps final book still uncompleted, despite his work on "Wimbledon green" and "George Sprott" graphic novels.

Structurally, each of the two finished "Clyde fans" books is formatted to take place in a short space of time, providing intimate focus on one of the Matchcard brothers, over a short period of time. The first entry is set in 1997 and centers on Abraham, now retired, but still living in the quarters of the company he once managed, while the second covers his brother Simon, and the time he spent outside of town in 1957.

Both men are their father Clyde's sons, with a particular isolationist streak in them, with the books serving as a fine delineation of the different ways they have dealt with it. Abe, the more functional of the two, was the more functional one, having managed to somewhat overcome his detachment from the daily life by immersing in a very real and methodical work. His story is the one filled with punctual dates, and recollections, both of his life and the company, with the focus seemingly on the dwindling fortunes of the family's once prosperous firm dealing in electrical fans. Yet, in 1997, Abraham Matchcard is a lonely man, set on recollecting his past with the goal that becomes more and more apparent while he tours the firm's former headquarters. 

Seth's artwork here is integral in revealing the truth at the heart of the never-resting old man, as it works in wonderful contrast with the narration to slowly depict the building as the hiding place of a man that is still in denial to his real feelings, despite his seemingly pragmatic tone. In all of Abe's recollections, he never meets a single man, nor does anyone come visit him, as the memorabilia-filled rooms he seems to attached to slowly appear for what they are, a cold comfort for the man longing for the loss of the brother he never truly understood. The creator's subtlety is essential in carrying over the complexity of an elderly businessman's feelings, as the close-ups on trivial details start losing their charm and power just in time as it becomes true that Abraham is going in circles in his wanderings around the house. It is then, that his similarly long-winded and oft-repeating story of the company's financial assets and difficulties in adapting to the new realities in air-conditioning breaks down to take the real turn for the personal.

By coming inside the rooms of his mother and brother, that he purposefully avoids, the older Matchcard brother admits to his feelings on Simon, who despite not being as business-minded has remained closer to him than his former wife that he only makes a passing reference to. Yet, even then, Seth is careful not to go overboard and depict his protagonist as breaking down, keeping his observations in-character and thus, seemingly centered around the financial prospects. For all the business-advice and the level-headedness, Abraham suggests he will remain his father's son to the end, a practical man albeit still trying to understand his erratic brother.

The skillfully depicted depth of emotion is nevertheless in keeping with the themes Seth keeps returning to, both as the man and an artist. Reading the first part of "Clyde fans" asks the reader to trust his storyteller, and adapts to his unique ways. It is only by patiently and intuitively studying the story that the full-extent of the author's vision can be revealed, particularly to a genre fan unaccustomed to the slow pacing and the lack of narrative "twists". Very much in keeping with the modern novel, Seth asks his reader to partake on a psychological examination of an ordinary figure, whose life is as common and as that of most people, filled with contradictions and unresolved issues. The cartoonish look of the art similarly excels in characterisation, with strong layouts, close-ups on charmingly elderly furnishings, and the antiqued buildings that reflect the light's passing.

In short, it's both an examination of the title character, and the book's author, obsessing over the times past, and the lessons learned of post-war Canada. Yet, Seth's talent and willingness to return from his themes and examine them from a different angle is nowhere as apparent as in the follow, the second "Clyde fans" book. Set in 1957, it follows Simon Matchcard with the same constant focus on his, even at most mundane, but the approach varies completely with the change of the protagonist. Abe's brother, in his youth is a much more emotionally complex figure, whose particularities were only hinted in his brother's monologue. Indeed, Simon's direct inner thoughts are almost completely unrevealed to the reader, except for the times he writes a few lines in his diary. Thus, for long passages, the second "Clyde fans" book is completely silent, yet Seth still manages to bring out the deepest nuances of his character.

Following up from a mention made by his brother, Simon's journey is that of a very particular soul focused on trying to deal with the isolationist streak he shares with Abe. The business trip he takes is a perfect example of the emotional complexities hinted by the previous mention of the mother's influence on the younger sibling. Seth is truly at his best when depicting the strained emotions peering under the strained, sweaty face of the young man, trying to overcome his difficulties in communication. Thus, the book works as both a showcase of the cartoonist's strengths, such as when depicting the sweat sticking to Simon, and the flawless dialogue displayed in the rare moments of the man's mumbling as he tries to get through even the most mundane tasks.

Yet, Seth does not stop at offering a sympathetic character, hoping to overcome all of his insecurities and social awkwardness in a risky, salesman position usually reserved for individuals much more in tune with the average life. Simon is depicted as a man easily distracted by his surroundings, most apparent by his gentle nature being attracted to the architecture of a Canadian small town. Still, due to his decision, he is forced to interact with a myriad of seasoned store-owners, that are as distant to him as the passersby. Yet, the most intimate look in Simon's thoughts are the flashbacks he keeps having of his stern brother, always hovering above him, as he attempts to negotiate the sales of fans at the designated locations.

As Simon's journey unfolds, the unrelenting self-doubt is apparent in the young man's inability to contact his older brother, with his tender nature slowly tying the flashbacks together with the disappointing experiences of his latest sales pitches. Yet, to break the strain, Simon tasks himself with another complicated goal, that of attaining the attraction of the opposite sex. His efforts are as fleeting and light as the rest of his character, and perhaps best addressed in a scene where he tries to keep his mind on the techniques of making a sales pitch, before eventually breaking down for reading a novel. It is in this, short scene, that Seth foreshadows the whole tragedy of Simon's attempted coming of age, that is much more revealing than the somewhat-confusing dream sequences that follows later on.

The crux of the second "Clyde fans" book is thus not in the eventual end of Simon's search, which is clear from the start, despite the fear of his brother's authority leading the younger Matchcard brother to try and fulfill all of the designated business meetings. The harsh truth about Simon's salesmanship is dragged into the focus during a meeting with a veteran salesman, who stays in the same hotel, bringing into focus all of their differences in their only conversation. This disillusioning, coupled with the ultimate fate of his non-advance to the local girl, leads Seth's protagonist to the literal end of his journey.

Leaving the last of the city's buildings behind him, Simon finally turns his back on the changes he tried to force onto his character, and embraces the slight particularities he is much more in tune with. The solace he finds at the end of the story is bitter-sweet, as the reader is aware of his eventual fate, as explained by his brother Abraham. Yet, "Clyde fans" book two was never intended to be a surprising narrative in the factual sense. Despite this, the real story was always in Simon's emotions and the effect the short trip has had on his psychology, depicted so memorably by Seth. Paradoxically, the second book retains enough of the plot-oriented approach to make it a much more immediate read than the preceding volume.

By pitying his awkward protagonist with endless social situations, Seth manages to achieve a powerful contrast, delivering on the promise of spotlighting the difference between the two brothers. His approach to storytelling is much more multifaceted in depicting Simon's journey too, with the author never missing a beat while depicting flashbacks, the charming of the city, and the emotional distance on the faces of the busy people his expertly fleshed-out character keeps running into. All of the particularities of the young man's isolation, are fleshed out in detail, bringing a realistic portrayal of a completely different loneliness then that of his better-accustomed brother.

The story seems best summed up by Simon's alternating states of confusion trying to relax in bars, and tenseness while going from one business encounter to another, all depicted almost with savagery, explaining the brutal marks it leaves on his psychology. Still, Simon's eventual retreat back into the part of the world he feels solace in is in no way the end of his story, or of the larger "Clyde fans" epic that seems so far centered largely on him. Because despite Seth's talent, his most ambitious work also remains the only one he is still in the process of finishing, asking the reader to enjoy his other projects in the meantime.

Seth is still careful to make both of the book's chapters self-contained, and even brave enough to depict the Canadian yesterday that he is so enamored of as being wildly different, when depicted through alternating viewpoints. Even in it's current form, "Clyde fans" a very bitter-sweet and realistic look on his favorite themes, done in the personal and authentic style, surpassing most of it's comic book peers by presenting an ongoing personal examination of the author's favorite subject in a way that is both direct and refreshingly sentimental.

"Scalped" 25-29 - High lonesome

Jason Aaron and R.M.Guera's "Scalped" has just concluded it's most recent story arc, "High lonesome", thereby becoming the first "Vertigo" title in recent memory that has not been cancelled. The neo-noir series set on the Indian reservation has been consistent in it's slow pace and meticulous character work, set back against the wild western atmosphere.

It started out with the focus on Dash Bad Horse, an FBI agent going undercover back at his childhood home, and being faced with the decades-old secret and misgivings left by his mother. Having set up the central mystery, tying both the present and the past together, the series' brutal and very raw feeling has since gave way for the structure-minded vignettes fleshing out the supporting cast, while the inevitable vents realistically meander toward their final resolutions.

The "High lonesome" story arc is set up in a very unique way, with Jason Aaron's story spotlighting a different "Scalped" character every issue. Structurally, each of the chapters employs a specific view point, and their pace differs to provide the best glimpse into the narrator. "Scalped" has had a long tradition of telling side-tales that provide detail and color to the main plot, which in this five part tale serves to literally bookend them.

The story begins with the new player whose coming in the Rez', signifies the conflict directly continued and resolved in the fifth and last issue of the arc. The opening chapter, presented from his view is very active, showing all of the person's energy and intent in a somewhat manic way, rendered through a rambling and self-conscious voice of a unreliable narrator. The reader is forced to piece up the clues and forms his own theory of the individual, before the character's final actions demonstrate his true intentions in a very visual way. Even though Guera masterfully illustrates the moody and ambiguous issue, especially it's historical pages, his art is not to be seen on the pages of "Scalped" for the next two issues.

The subsequent episode does not up on the first chapter's cliffhanger, instead providing a side story, whose divergent narrative serves as the framework for the series' second look in the past of Diesel. Dash's erratic opposite number is a very different narrator, providing cold and unrelentingly sparse comments about his strange behaviour. Aaron trusts artist Davide Furno's soft earthy pencils set back against somewhat angular inking to present the reflection of the central event in the troubled man's life. The plot alternates with present days scenes acting as a parallel that reaffirms the change's lasting effect on the character.

The slight progress in the overall plot is addressed offhand at the beginning of the next issue's even more brutal story, featuring both Diesel and Dash's acquaintance, the hotheaded agent Nitz, whose drive from revenge has instigated the entire book's setup since the very beginning. Yet, it's only in the middle of the "High lonesome" arc that a more revealing light falls on the character, who was so far presented as being very one-dimensional. It's very revealing then, when the traditionally non-empathic Nitz, gets to follow Diesel, by revisiting his own past. Aaron contrasts the lawman's flashbacks to the defining moments in his life with their present-day after-effects. The agent's rare sentimental leave turning into a study of his bloody and violent underpinnings is brought to the reader by Francesco Francavilla's painterly hues. Francavilla's visuals only fail when portraying the difference in the characters' ages between the two decades, yet the colorist Gulia Brusco helps erase the confusion by alternating the blueish dream-like look of the thirty-two years ago with present-day's clearer, orange tones. Faced with some of the most intimate art the series has seen, Aaron counters with some of the story arc's most coarse and amoral moments. The character-work in the issue reads very access able and finally brings the Nitz some of the definition he desperately needed, concentrated as he is on the civil rights activist days of Dash's mother.

Despite being self-contained, the second and third issues of the arc work as reminders of Dash's perilous legal status, with Diesel and Nitz acting as comparisons. The stylistic changes in artwork provide for a different perspective on the viewpoints of characters away from the Rez'. The subsequent, co-creator Guerra pencilled tale once again rearranges the structure of "High lonesome", while still working in part as an intimate portrayal of a seldom-seen character. It brings back officer Fallsdown,who is forced to collaborate with agent Nitz's associate, providing the link between the chapters. The investigation calls back to the first, Guerra-pencilled issue of the story-arc, but seems mainly as a catalyst to finally reveal the truth that's been eluding agent Nitz for so long, about the bloody night from thirty two years ago. By focusing on the common past of all of the book's main characters, the issue's epilogue serves to set-up future events, recasting another series regular in the new light.

Yet, it's only after spending three issues on subplots, that Aaron and Guera use the arc's concluding chapter bring the sense of closure to the initial plot of "High lonesome", providing definition to the whole, disparate experience. Bringing the focus back on Dash, the writer is uncompromising in structuring the story to reveal the truth of his present state, and challenge the character to change, in the light of the catalyst memorably depicted by his co-creator. In effect, bringing Dash's hidden identity to the forefront of the heist-oriented plot is a very welcome idea, capable of sustaining the violence that surrounds it. Despite hinging the starting point of the drama on a coincidence, in the end Aaron offers no easy answers, in keeping with the book's return to the more grounded scenario.

In fact, perhaps "the Scalped"'s greatest strength might well lie in it's characters, and their decisions to acknowledge the events that shape their lives, sometimes taking the very long and life-like periods of time to come to grips with what their decisions should be. The story unfortunately loses some of it's focus due to the shift to other characters in it's three central three issues, making it appear as though they were intended for publication after the two parts that ended up framed around them. Strangely, Diesel, agent Nitz, and officer Fallsdown effectively make no direct impact on the main plot, making it appear that their stories could have been published verbatim after the events of thus much-shorter "High lonesome" arc.

It seems like no coincidence then, that the first two of these character pieces are pencilled by Furno and Francaville, with Guera's highly detailed and atmospheric style returning for the concluding issue in the story-within-a-story seeming almost misplaced. The fill-in artists are a necessity with the editorial's preference for the monthly publishing as a way to ensure the audience's enthusiasm doesn't decline for the relatively new title. Taking into account that "Vertigo" titles are traditionally strong trade paperback sellers, a more relaxed publishing approach could have perhaps made "High lonesome" a different reading experience.

In any event, with Jason Aaron as the constant, the book keeps it's gritty edge, most bluntly by various atrocities commited by the characters, that permeate the issues. The arc's negativity works to keep up the book's balance between wild-west inspired shoot-outs, and the carefully depicted acts of crime with long-lasting dramatic consequences, such as the tragic event in the Dash's mother past. No matter the artist, the grittiness and depression never seem to stop gnawing on the characters of the Rez', acting as both an explanation for their anti-social behaviour, and a catalyst for their further deterioration, with all of it's implied consequences.

As rendered by Guera, Dash is a perfect example of all the book's philosophy, trying to make sense of his violent tendencies colliding with long-suppressed emotions. Forced to endure a situation as traumatic as the one his mother faced thirty-two years ago, by the issue's end it's still unclear how will he proceed, given all that has befell him since coming to the FBI assignment. Still, the renewed focus on Bad Horse's exploits could only benefit the book as it comes closer to the inevitable resolutions it's been building up to, since the beginning.

Because, despite the many players influencing the events in Prairie Rose Reservation, and orchestrating random acts of violence on their own, "Scalped" never stops being a classical tale of a man trying to make piece with his past. Hopefully, it will end as it begun, with Dash getting past the details, to deal with the most important man in both his and his mother's life.

"BPRD: the Black goddess"

"B.P.R.D.: the Black goddess" is the name of the recently-concluded mini-series, featuring characters Mike Mignola created as Hellboy's colleagues in the Bureau for Paranormal Research and Defense, before taking the protagonist into a more fantastic and mythological direction. Dark Horse has decided to publish the spin-off title as a series of mini-series, with the gaps between stories enabling co-writer John Arcudi and artist Guy Davis to further develop new stories, while having more time to dedicate to other projects. After the first couple of tales featuring the team, pencilled by Mignola-inspired Matt Smith and Ryan Sook, the Hellboy creator used the B.P.R.D. oneshots by various creative teams, as a means of finally settling on distinctively talented Guy Davis as the penciller/inker. Arcudi joined soon, and since then, the creative team has kept up with perhaps the most solid and reliable title in the "Hellboy" line, doing mostly standalone tales, that tied with the overall story arc featuring the characters. 

Still, since the previous mini-series, the creative team has been focused on tying up almost all of the loose ends, resulting in the "Black goddess" being highly inaccessible to new readers. The mini-series is in fact so continuity oriented, that it even references "Lobster Johnson: the Iron Prometheus" project, luckily Dark Horse has kept most of their "Hellboy" titles in print. The publisher has always been a huge supporter of manga, so it makes no surprise that they look at B.P.R.D. in the enduring format as a series of tradepaperback collections.

The series works as a modern pulp horror team title, defined by offbeat characterisation and a caricatural esthetic. By establishing a paranormal investigative agency as the center point, the creators strive to present their work as a somewhat derivative piece of fiction, but only in order to embrace the many established monster conventions, putting their own spin on it. Preseting a military operation the book takes an urban approach, yet without stepping too far into the science fiction aspect. It's chief assets are the well-developed approach to structuring the stories, fast pace and a strong individual voice, focusing on unique characters, that are only enhanced by the expert use of continuity. Even though many of these elemets were already present in the parent title, it's surprising how quickly and effectively Mignola and his collaborators have managed to turn the book into a fully functional and distinctive experience in itself. It was only due to the hard work and unrellenting vision that his creations have managed to stand side by side with "Fables" and "Walking dead", as some of the strongest creator-owned genre titles in the superhero-oriented American mainstream.

"the Black goddess" story, despite being geared towards the long-term fans, is a great example of many of the "B.PR.D."'s strengths. Functioning primarly as a character piece, it works to finally complete Liz's years in the making character arc, by bringing it to the forefront. After witnessing Abe coming face to face with his past, the readers are finally treated with the culmination of the slowly built subplot featuring the pyromaniac falling under the influence of an Eastern mastermind. Fittingly, she spends most of the arc on the sidelines, as all of the obscure history of her mysterious benfactor is revealed to her infuriated team-mates. Nevertheless, it's her decisions that help resolve the matter in the end, amidst a wall of tension caused by the monsters trying to breach into the lair. Despite the presence of long-time players, Abe and Kate Corrigan, it's Johan who once again plays the most interesting role, as his emotional conflicts have recently turned him into a very passionate and unpredictable character, despite the cold, featureless look of his containment suit.

Still, the authors are careful not to let the flashback-heavy story function only to fill in the gaps in the antagonist's background, as the characters' strained and nervous state, leads to many twists and turns in this expertly-paced story. All along, the larger "Hellboy" set-up simply refuses to be deffered by dwelling on the past, as the lair is besieged by literaly hundreds of monsters that have played a role in the spin-off since the beginning, hoping to commence the end-times Mignola has threatened for so long ago. Despite Davis' talent for showing emotion on the character's expressive faces, his layouts really stand out in those sequences, providing the reader with endless hordes of mindless monsters, that the military tries to keep at bay. The designs for the were-creatures typical of the locale is once again original and in keeping with the book's style, while Dave Stewart's colors provide their standard atmospheric effect. Yet, the complicated battle set-pieces reveal that Davis' natural sensibilities still lie with the more intimate scenes. Employing another penciller to further detail the visuals would work to bring to stylings the definition they could have. 

Yet, it's clear that the emotion is once again not in the climatic war of the netherworld on human civilization, as the story is grounded by a single person's position, and the decisions he has made in his long life, spotlighting all of Davis' best strengths. The team negotiating the best course of action against the complex figure around whom rage conflicts both personal and all-encompasing, set in the distinctive geographical region, works to give perfect distinction to a tale devoted to history. 

The creative team are already at work on the follow-up, "the King of fear", that should bring some of "B.P.R.D."'s longest subplots to an end, focusing most likely on Captain Daimio.  Utilising the cast of characters that have matured considerably since their somewhat limited roles as Hellboy's former colleagues, it stands to reason that the book will be at least as gripping as "Black goddess", or for that matter any of the mini-series that preceded it. Before Dark Horse starts to serialize the new entry, the follow-up to the prequel "B.P.R.D. 1946" will take it's publishing slot, along with more specials detailing the long conflict with the frog-like monsters that the initial stories centered so heavily on. Competing with Hellboy's own title, a new Lobster Johnson adventure and the recently announced mini spotlighting sir Edward Grey, it stands to "B.P.R.D."'s strenght that it has become such a reliable title, that can always be counted upon for quality entertainment by John Arcudi and Guy Davis, working closely with Mike Mignola.

the Immortal Iron Fist #22-25 "Escape from the Eight city"

Marvel's "the Immortal Iron Fist" has just concluded it's latest story arc, featuring the talents of regular writer Duane Swierczynski and artist Travel Foreman. 

Following the publication of a one shot "Tales of the Iron Fist" issue designed to give the penciler more time to spend on the arc, Marvel believed that the publication of "Escape from the Eight city" will be less troubled than it's similarly-titled predecessor. And while "the Seven capital cities of Heaven" remains so far unequaled when it comes to delays and fill ins, the publisher still had to place an inventory story in the middle of the story arc, in order to give Foreman more time to pencil the remaining chapters. The result turned into a strange coincidence, as both "Tales of the Iron Fist" stories link thematically to the "Escape from the Eight city" epic in an unintended way. Ostenably dealing with the Chinese history (and future), the two short stories provide interesting context which highlights the ambitiousness of the multi-part tale's creators.

Namely, both one shots deal with unlikely champions that bring salvation to their people using their special talents. The longer piece poses a much more complex moral dilemma to the title character, when compared to the legends of the warriors who whore the same mantle. In fact, it's easy to understand Foreman's delays and Marvel's decision to hire fill-in artists on the portions of the story not featuring Danny Rand himself. The scope of "Escape from the Eight city" is just as broad as it's morality, featuring complicated set pieces with dozens of characters, with most of them being new designs to further complicate things on the artist's end. Foreman manages the responsibility, in that his work features a lot of energy and stronger definition than before, thanks to the use of more traditional layouts.

Compared to the previous "Immortal Iron Fist" stories, this one is the most straight-forward, taking place chiefly in the eponymous Eight capital city of Heaven, actually a hellish, nightmare realm, only hinted at before. This effectively turns the book into outright fantasy, with only the Iron Fist's re imagined mythology to balance the experience. Taking a cue from the aforementioned Brubaker/Fraction story arc, Swiercyznski centers the conflict on the dishonesty pervading the legend of Iron Fist. The difference in the first creative team's approach is most evident by the absence of Orson Randall, with the current writer substituting him with the first Iron Fist, an individual no less complex than the Golden Age Iron Fist.

The hard choices forced upon Danny Rand, and his need to sort out through the half-truths to make a difficult decision regarding Kun' Lun are always the narrative center of the book, with to the detriment of the book's famous kung fu fights. The unique challenges that are forced on Iron Fist and his allies in their hellish surroundings are actively centered around their fighting abilities, due to the story's focus  for most of the time remain afterthoughts. The signature moves and their over the top names have always been part of the title's charm, which is the greatest indicator of the seriousness that pervades the arc.

The particular focus is also the reason why the storyline doesn't cohere. The nightmare Eight city needed to be much better developed, for the authors to try to present it as ages-old, retroactively fitting with the Iron Fist origins. The inhabitants are visually varied and consistent in some of their various factions, but due to the lack of space, only their leader gets the definition needed to feel like a physical presence. 

Of course, in the plot-oriented story tying back to the very first Iron Fist, the setting doesn't have to be as prominent, when the book sport such a colorful supporting cast. Dispensing entirely with Luke Cage and Misty Knight, the creators deliberately stayed away from Marvel Universe at large, in order to exploit the title's premise to it's best, hence spotlighting the seven Immortal Weapons. Danny's cohorts are perfectly placed, starring in the story that keeps believing in the book's particular mythology, instead of focusing on the publisher's current "Dark Reign" event direction. Still, the fast pacing and focus on Danny mean that his fellow warriors get very little time to develop beyond their background role. The obvious favorite Fat Cobra is once again the most prominent, while most of the others admittedly have a role, it's a very light one. Perhaps Marvel would've been better advise to have published the soon to come "Immortal weapons" mini-series before this arc, because as of right now, the champions feel little developed since their remarkable debut.

That may have been the book's biggest problem, that it jumped to follow up what was presumably one of Brubaker/Fraction's last ideas. As in the last arc, Swierczynski gave his best to flesh out the idea to it's best, but this time around, he may just have hurried too much with the execution in the first place. Spotlighting the Eight Celestial City would have worked much better if the other planes adjacent to Kun' Lun have been already developed, along with their respective champions. By showing the reader the last mysterious realm first, the creators seem as in hurry to get to the next high concept idea. Ideally, marrying the concept of the Eight city with their original take on the first Iron Fist, seem like a well-founded move, but it comes to the expense of ignoring major parts of the recent mythology.

"The Immortal Iron Fist" is poised to release only one more issue before the book goes on hiatus, to be continued by the previously-mentioned mini-series. The title's future is to be determined by Marvel's future publishing decisions, but they would be well advised to keep the current creative team, as the book is currently one of their most interesting and original offerings, showing no signs of stopping to both interest and entertain it's readers in the character that was long considered to be out of fashion.