Review: Marvel Masterworks: Atlas Era Black Knight/Yellow Claw, Vol. 1

Writers: Stan Lee, Jack Kirby, Al Feldstein
Artists: Joe Maneely, Jack Kirby, Fred Kida, John Romita Sr., Syd Shores, Werner Roth, George Roussos
Collects: Black Knight #1-5, Yellow Claw #1-4 (1955-57)
Published: Marvel, 2009; $59.99

One of the more unusual releases in Marvel’s long-running hardcover series, Marvel Masterworks: Atlas Era Black Knight/Yellow Claw is both a peculiar mash-up of two very different series and a true gem of 1950s comic book storytelling. Make no mistake, there is absolutely no connection between Black Knight and Yellow Claw – one is medieval in setting, while the other is a contemporary spy thriller – aside from their both being short-lived series with art by Joe Maneely. But it’s a nice way of packaging the two titles nonetheless, since neither is long enough to have warranted an individual release.

I went into the book expecting Black Knight to be a little dull, to be honest; Errol Flynn’s depiction of Robin Hood aside, I’m not that interested in the 1940s and ‘50s Hollywood version of the Middle Ages, from which this comic very obviously takes its cues. After only a few pages, though, it became clear that writer Stan Lee was also influenced by, of all things, Golden Age superhero comics. In fact, there’s a lot more to the Black Knight than the average medieval protagonist. Although he spends most of his time as King Arthur’s mild-mannered nephew, that’s really just his secret identity; whenever the king’s life is in peril, he pretends cowardice and steals away to become the Black Knight. In his daily life he’s despised by the court, especially by the woman he loves – who, in the typical fashion of superhero stories, is infatuated with his mysterious alter ego. The formula isn’t at all unlike the one used in the early appearances of characters like Superman, Captain America, and Spider-Man, but seeing it transposed into medieval times gives it a unique spin.

Yellow Claw is a fascinating read as well, albeit for completely different reasons. Although the first issue, like the majority of Black Knight, is drawn by the excellent Joe Maneely, the writing leaves a little to be desired. Penned by Al Feldstein (the former head writer for EC Comics, which had closed shop for good two years earlier), the Yellow Claw character is essentially just a clone of Fu Manchu, an evil Chinese mystic bent on world domination. Despite the formulaic structures of this first batch of short stories, Feldstein does do an admirable job of dodging the racist undertones that have plagued most literary works featuring Fu Manchu and characters modeled after him – and he does so in large part by giving the stories an Asian-American protagonist, in the form of FBI agent Jimmy Woo.

Interestingly, though, Yellow Claw is less remembered for the positive (and progressive) portrayal of its Asian-American hero than it is for the fact that it heralded Jack Kirby’s return to Marvel Comics after several years working for the competition. Kirby picked up the book’s reigns starting with the second issue, from which point he both wrote and drew the comic for three full issues before its cancellation. This was the first work Kirby had done at Marvel since his departure from the company in 1941, and the energy he brings to the page is pretty exciting, even if the stories themselves are too short to leave much of an impact. Still, with its off-kilter plots and bizarre-looking bad guys, it’s a weird and wonderful comic in that special way that just screams “Kirby.”

As good as Kirby’s work is, it’s also worth pointing out what a brilliant and imaginative artist Maneely was as well. His work on Black Knight made me feel I’d been thrown into some early MGM Technicolor spectacular, and his one issue of Yellow Claw is notable for the sheer breadth of convincing facial expressions throughout. Sadly, Maneely was killed in a car accident (at the age of only 32) just three years before the beginning of Marvel’s 1960s superhero revival. It’s fascinating to think of how much different the comics industry might have been if he had lived to contribute ideas to the Marvel Universe, and I’m looking forward to learning more about him in Michael Vassallo’s upcoming biography (which is essentially previewed in a lengthy essay by Vassallo at the end of this volume).

As wildly different as Black Knight and Yellow Claw are, this book turned out to be a really great read. This is a fun book for continuity buffs, too – Jimmy Woo continues to run around with S.H.I.E.L.D. and the Agents of Atlas today, and it was revealed at one point that the modern Black Knight is directly descended from the medieval one depicted here. Between the quality of the stories and the fact that it features the work of two truly excellent artists, it’s an incredibly nicely done package.

Rating: 4 out of 5

Review: Marvel Visionaries: Stan Lee

Writer: Stan Lee
Artists: Jack Kirby, Al Avison, Joe Maneely, Steve Ditko, Wally Wood, Marie Severin, John Buscema, Neal Adams, Gene Colan, John Romita Sr., Gil Kane, Barry Windsor-Smith, Darick Robertson
Collects: Captain America Comics #3 & 16, Suspense #29, Amazing Adult Fantasy #11, Amazing Fantasy #15, Fantastic Four #11 & Annual #3, Daredevil #7 & 47, Silver Surfer #5, Thor #179-181, Amazing Spider-Man #96-98 & Annual #5, Marvel Premiere #3, Spectacular Spider-Man Super Special 1995 (1941-1995)
Published: Marvel, 2005; $29.99

When Marvel launched its creator-focused line of oversized Visionaries hardcovers in late 2004, it only made sense to start with the two most prominent figures in Marvel history: Stan Lee and Jack Kirby. For both books, the process of selecting which issues to include couldn’t have been an easy one. Perhaps it’s wise, then, that instead of trying to create “best of” collections for either, Marvel opted to create volumes that simply give the reader a feel for the sheer range of these creators’ talents. Indeed, Marvel Visionaries: Stan Lee excludes a fair number of stories I would have numbered among the writer’s “greatest,” but that’s quite all right – after all, you would need multiple books to collect all of those stories, and the ones they did choose do just as good a job of demonstrating the sheer diversity of Lee’s talent.

The book opens with a great biographical introduction to Lee, written by longtime Marvel writer Roy Thomas (who was himself the subject of his own Visionaries collection); it’s a great crash-course on the writer’s history at Marvel, especially if you haven’t read anything else by or about him. Lee’s first-ever published work, from the pages of Captain America Comics, occupies the first few pages. While it’s fairly primitive in comparison to Lee’s later work, the stories are still interesting to see – and hey, you have to start somewhere, right?

The years between Lee’s first work in the Golden Age and the debut of the Fantastic Four in 1961 make up the most underrepresented time period in this collection, with only a few short stories from the mid-1950s. They’re nothing to write home about, really, although “The Raving Maniac,” a commentary on the public outcry against comic books going on at the time, is kind of amusing. The real meat of this collection comes in the form of Lee’s Silver Age superhero work, and this book delivers a great variety of characters and artists. It would have been easy for Marvel to include a ton of origin stories in this book, but luckily, they only include one – Spider-Man’s, which is arguably Lee’s best.

From here, the superhero stories range from an early issue of Daredevil – featuring an unlikely fight between the title character and the Sub-Mariner – to some of Lee’s final work as a regular writer at Marvel, including a Bronze Age Dr. Strange comic drawn by Barry Windsor-Smith. Along the way, the book showcases Lee’s ability to tell short, self-contained stories (such as a quick FF tale answering some of readers’ most frequently asked questions), in addition to well-developed, multi-issue arcs.

The first arc in the collection is a three-part Thor story in which Loki tricks the thunder god into switching bodies with him. Unaware of Loki’s evildoing, Odin banishes Thor (in Loki’s body) to Mephisto’s realm, while the actual Loki runs rampant in Midgard. The story is actually more notable for its art than its writing – it features Jack Kirby’s final work on Thor, and some of Neal Adams’ first at Marvel – but it’s a good example of the overblown, faux-Shakespearean style Lee was fond of using in comics dealing with gods and god-like characters.

Taken by itself, the Thor story might lead someone new to Lee’s writing to believe that he’s simply a cheesy writer. However, the book follows this story with an extremely well-grounded story arc from Amazing Spider-Man, which features Harry Osborn’s battle with drug abuse and the return of the Green Goblin. The drug subplot is a notable one in comics history, as it made Amazing Spider-Man one of the first mainstream comic books to be published without the Comics Code Authority’s seal of approval. Lee had actually been personally asked to do a story dealing with substance abuse by the United States Department of Health, Education and Welfare, and the backlash resulting from the Code’s refusal to approve it led to a loosening of its restrictions and a more progressive era in comics in the years that followed. But the thing that’s most impressive about the story is how subtly it gets its message across and how intricately Lee weaves it into what otherwise simply would have been a tale about the return of one of Spider-Man’s old enemies.

The book ends by reprinting a number of vintage pages containing Lee’s famous “Stan’s Soapbox” column, and these are a real treat. The column was his way of connecting with readers on a regular basis and letting them know what was going on behind the scenes at Marvel (remember, these were the days before Twitter!). They make me eager for a complete collection of these pages; and yes, it’s true that the Hero Initiative published a book with just the text of the columns themselves, but I’d love to see a book consisting of scans of the pages in their entirety.

Whether you’re a new or old fan of Stan Lee, this book is a great read. It represents a huge variety of his work, some of which is a far cry from the sort of thing we’re used to seeing reprinted again and again in these types of collections. There are relatively few duds, too, the only real one being a short Spider-Man story (reflecting on the 1995 death of Aunt May) that Lee wrote long after he had stopped working in comics on a regular basis. Even despite its relative weakness in comparison to his other work, though, it contributes to the collection’s goal of showing that Lee is a writer unafraid to tackle any kind of story – not to mention one who almost always delivers a fun and entertaining experience in the process.

Rating: 4.5 out of 5

Review: Deadpool Classic, Vol. 3

Writers: Joe Kelly, Stan Lee
Artists: Ed McGuinness, Shannon Denton, Pete Woods, Walter McDaniel, and John Romita Sr.
Collects: Deadpool #9-17 (1997-98) and Amazing Spider-Man #47 (1967)
Published: Marvel, 2009; $29.99

It’s taken three volumes now, but I think my patience with the Deadpool Classic series is finally starting to wear a little thin. The main reason for my frustration is that while writer Joe Kelly clearly has an idea of where he wants to take the story, he doesn’t seem to know how to properly get there. This book takes us up through the 17th issue of Deadpool’s ongoing series – a point by which I think it’s reasonable to have expected the main plot to have progressed a lot more than it actually has. Unfortunately, the nine issues collected here do little aside from meander as Kelly seemingly goes out of his way to portray Deadpool as a genuinely unlikeable human being.

Picking up on one of the main plot threads from the previous volume, Deadpool Classic, Vol. 3 concerns itself mostly with the main character’s struggle to determine whether he’s ultimately a hero or a villain. While the folks at intergalactic law firm Landau, Luckman & Lake maintain that he’s some sort of “chosen one” meant to restore balance to the universe and whatnot, Deadpool’s actions consistently speak to the contrary. This was the case in Vol. 2 as well, but at least in that book I got the sense that Deadpool legitimately wanted to become one of the “good guys.” Here, he talks a lot about wanting to change for Siryn, the woman he loves (who only appears in one issue, sadly – I think she’s a great character), but doesn’t seem to be motivated by much else – least of all, his conscience. In fact, he spends so much time being self-centered and actively resisting LL&L’s attempts to help him be a hero that I had a hard time believing he really wants to change at all.

Overall, I think I get what Kelly is trying to do. He’s trying to bring Deadpool to such a low point that the only way for him to go is up – thus justifying his eventual shift from anti-hero to hero. (Of course, at the rate the story is going right now, I can’t imagine that shift taking place for at least another two volumes, and even then I don’t expect for it to last long.) The thing is, Deadpool was already brought to a sufficient low by his fight with Typhoid Mary at the end of Vol. 2 – the fact that he acts like a jerk for most of this volume doesn’t get him any lower, it just forces us to wallow along with Deadpool in a weird state of limbo created by the character’s alternating feelings of denial and self-pity.

In other words, Kelly isn’t actually developing the character or his situation at all here; instead, he brings Deadpool to his lowest point and then spends nine issues rubbing the reader’s face in it. The worst part comes when Deadpool locks up Blind Al and Weasel, his only friends, in a torture chamber for absolutely no reason. (Even more troubling is that when Deadpool finally offers an apology four issues later, Kelly apparently means for the reader to accept it.) Kelly still (annoyingly) doesn’t reveal the exact nature of Deadpool’s relationship with Al, an old woman he’s been keeping prisoner since the series’ first issue. I think we’re supposed to be amused at the bizarre Stockholm syndrome thing going on between the two, but at this point it’s really just creeping me out.

And maybe it’s just that I’ve read too much Deadpool lately, but the character’s sense of humor (at least, the way Joe Kelly writes it) has become just plain annoying to me. It’s extremely repetitive, for one thing – I counted at least three jokes involving the word “duodenum” in this volume alone, and just as many involving people having their butts “kicked so hard they can taste their breakfast.” I imagine I would have had a much easier time enjoying the dialogue if not for seeing the same verbal tics repeated over and over.

The one highlight of this book is a double-sized issue in which Deadpool travels back in time and uses an image inducer to impersonate Peter Parker throughout the events of the classic Amazing Spider-Man #47 (which is reprinted in its entirety here as well). Artist Pete Woods does a good job of imitating John Romita’s style for the scenes taking place in the past, and of inserting Deadpool into a number of actual Romita-drawn panels taken from the original comic. Plus, the framing story features the Great Lakes Avengers (who call themselves the Lightning Rods here, after the Thunderbolts), a group that never fails to amuse me.

Aside from Woods, the art in this book is handled by a variety of artists. Ed McGuinness only draws the first issue, but he’s followed by Shannon Denton, whose style is very similar. The final four issues are drawn by Walter McDaniel, whose style is more realistic and less manga-influenced than either McGuinness’s or Denton’s; I had never come across his work before, but it’s very similar to what Bryan Hitch was up to in the late ’90s. All of the artists featured are a decent fit for the book, even if none of them are mind-blowingly great.

Despite the time-travel issue and the artwork, though, this book failed to impress me on the whole. The series has slipped into a formula that, while not intrinsically bad, has grown pretty tiresome as a result of its being dragged out for so long. I’m not writing the series off entirely, since I think it could reclaim some of its former glory if it gets out of its current rut and Deadpool finally embraces his “destiny” to become a hero. Still, it’s got a pretty steep mountain to climb to make me forget this disappointing volume.

Rating: 2.5 out of 5