Aliens vs. Avengers

I’ve said several times before how much I like the Alien comics, first the ones published by Dark Horse and then by Marvel. Within the framework of the franchise they’ve always succeeded in being highly original, entertaining, single-story arcs that deliver exactly what you pay for. Facehuggers, chestbursters, Xenomorph queens, space marines, evil or virtuous synths . . . we all know what’s coming and I’ve never been disappointed.

Aliens vs. Avengers comes close to breaking that streak. For starters, and I think for the first time in the comics, the Alien mythology is expanded to take on the role of the Engineers. I wish they’d never introduced the Engineers. They just confuse everything. Anyway, they’re the ones who created the Xenomorphs as a “universal extinction machine.” This plot is discovered by the Wakandan Galactic Empire though, who are sent into crisis mode when the Xenos use the same black hole transportation system the Wakandans have used to spread throughout every corner of the universe. Which means that yes, the Xenomorphs are coming to Earth.

Are you following all this? Because it gets even more confusing. This four-part series is a real mess. I think they could have run it out to 20 issues and it still would have been hard to follow. Perhaps the thing that surprised me the most is that because this story is set in the future the Avengers are a pretty old bunch. Lots of bald heads and grey beards. Bruce Banner is an old man and Tony Stark stuck is in a wheelchair, but they can still fight because the Hulk doesn’t age and Tony can turn his wheelchair into an Iron Man suit. Spider-Man is Miles Morales all grown up. Wolverine is a grizzled vet (living on Mars now with the other mutants), but then we’ve seen Old Man Logan before and we know he can still fight. T’Challa (Black Panther) has white hair, but his son Azari is taking over anyway.

So it’s the Old Avengers who are tasked with defending Earth. A job they certainly aren’t up to, since the whole planet is overrun in a couple of pages and the survivors have to escape in a spaceship, which reminded me a bit of the DCeased storyline. I don’t know if these comics are making a broader cultural point about it being game over on Earth now, but it’s possible.

Anyway, as you may have guessed this is a talky comic and not all of the talk is good. I’m still scratching my head over “Sentimentality without permanence is purpose without cause.” And it’s also not really an Alien or an Avengers comic, though they’re both involved. What it finally comes down to is Mister Sinister teaming up with the Xenomorphs while the superheroes have to rely on Venom to save the day.  Which may not have been what you came in for. It certainly wasn’t what I was expecting. But that’s not always a bad thing and I didn’t think it was all bad here. It’s just that these epic story arcs put me off and there’s so much new world-building going on here that the proceedings aren’t easy to follow or, for that matter, to stay interested in. The presentation of the Avengers as retirees was also a bit of a downer. So credit to Jonathan Hickman for going his own way, and good art from Esad Ribić, but not my thing. And please, can we just get rid of the Engineers?

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Criminal 3: The Dead and the Dying

The third entry in the Criminal series is itself made up of three separate stories that are linked by way of certain recurring characters. In other words, you could think of The Dead and the Dying as a sort of microcosm of Criminal as a whole.

All the stories are set in 1972, so they deal with a previous generation to the characters we met in Coward and Lawless. Though to be honest, nothing here feels a bit different from the later stories. I don’t think Center City changes very much. The middle story, “A Wolf Among Wolves,” is about Teeg Lawless, the father of Tracy and Ricky (and yes, it’s yet another story of a heist gone wrong). Then we get the back story of how Sebastian Hyde came to be the crime boss of Center City. But the main connecting thread has to do with a woman named Danica (whose pussy is “a deadly weapon”) and how she is abused and let down by various men.

It’s another effective comic. I especially liked the black beats that interrupt Teeg’s section. That’s a technique that might not have worked, but Brubaker and Phillips don’t set a foot wrong with this material and I thought the interrupted visuals added to the sense of Teeg’s mental and moral disintegration. Otherwise, it’s a comic that fills in blanks and adds to the sense of a tightening web of fate being drawn around these people. It’s funny how each comic ends with the words “The End,” as it’s clear that nothing is ever over in this town.

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Mighty Marvel Masterworks: The Incredible Hulk Volume 1

When I was a kid I had a paperback collection of the first six or so issues of The Incredible Hulk, so basically the same comics as are collected here. I read that book until it fell apart, but didn’t have any other books like it. I don’t think that experiment really took for Marvel, but this Mighty Marvel Masterworks series seems to be doing well. They’re cheaper reproductions in a smaller format than the Epic Collections, but as long as you’re not a comic purist who gets upset at any tampering with the format or colour of the original then they do the job.

So what we have here is the Hulk’s original origin story, with Dr. Bruce Banner being irradiated from the blast of the gamma bomb he designed. He should have been observing the blast from a safe distance but he had to go out to rescue 16-year-old Rick Jones, who had driven out onto the test site. Rick Jones will, unfortunately, continue to be the Hulk’s sidekick for all of these early comics and he’s a pointless burden. Literally as he holds on to the Hulk’s back as they go hopping around.

Stan Lee was just trying out ideas here, looking to see what would work. In the first issue the Hulk is actually gray but this turned out to be too hard a colour to manage so in subsequent issues he experienced a chromatic shift (without any explanation) into the more familiar green. As initially introduced he also turns into the Hulk only at night and is Dr. Banner by day, which was too limiting for the character and so was discarded nearly as quickly as the gray skin. Then for a while Banner built a gamma ray machine that allowed him to change himself into the Hulk and then back again, but you could tell that device was wearing thin already by the later issues here. And finally there’s the question of how the Hulk gets around. In issue #3 Rick easily runs away from him: “Lucky for me the Hulk can’t move too fast!” But later in the same issue the big green guy is literally flying around with his island-hopping jumps.

In short, things were very much in a state of flux and it wasn’t clear what sort of a character the Hulk would be. Though that’s something that has stayed with the Hulk over the years, as evidenced by the different forms and colours he’s taken. Essentially this is another take on the Jekyll-Hyde dichotomy, the “milksop” scientist and the unleashed beast, and it’s always been a live question how much the one bleeds into the other.

The writing is slapdash in the extreme. Apparently Dr. Banner and Rick have excavated that underground hideout where the Hulk can be locked up all by themselves. And when the Hulk breaks the door down and smashes the elaborate mechanism used to shut it, it can be quickly repaired. “Lucky I was able to replace this shattered steel ramrod!” Rick tells us. Lucky indeed. When the Toad Men arrive from outer space their “grapplers” are quickly able to identify “the most brilliant scientific brain on Earth” (which would be Dr. Banner). When the Hulk and Rick and Betty Ross escape from the underground kingdom of Tyrannus the Mighty, Betty is in a state of shock that is like “some kind of amnesia!” Which means she conveniently won’t remember any of their adventures. You can see how comics had a lot of growing up to do. At this point superhero comics were juvenile entertainment and made no bones about it.

Originally published from 1962 to 1963, there’s the usual Cold War overlay, something I mentioned before in my review of the contemporary Ant-Man comics. The Hulk faces off against such Red menaces as the Gargoyle (whose defeat might signal “the beginning of the end of the Red tyranny too!”), Mongo (not a “gladiator from space” but a robot built by the “wily Reds”), and General Fang (a Chinese Communist warlord who leads his hordes against peaceful neighbours). “Do those commies think they’re playing with kids?” the Hulk asks, as he crushes one of their grenades in his hand. If so, they are soon disabused of the notion.

I liked this well enough when I was a kid, which isn’t surprising given that was very much who these comics were aimed at. That’s obvious just from the presence of Rick Jones and the Teen Brigade. These kids are actually the most dated part of all these books, saying things like “Daddy-O.” But that’s the price you pay for being hip.

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Asterix and Cleopatra

Asterix and Cleopatra is one of the classic Asterix comics. Perhaps the best known and best loved. I’ll always cherish it for the scene where tiny Dogmatix jumps into Obelix’s arms and he says “Dogmatix! You nearly knocked me over!” This is funny because Dogmatix is so small and Obelix so big, but ever since, with all the dogs I’ve had, whenever they’ve come up to me for a hug I’ve always told them that they nearly knocked me over. That’s how tightly some throwaway line read in childhood can weave itself into your life.

Anyway, Asterix and Obelix, joined this time by Panoramix the village druid and the newly named Dogmatix, are off to a Cecil B. DeMille version of Egypt, where Cleopatra is having a torrid affair with Caesar. In an opening argument the Queen of the Nile makes a bet with Caesar that she can build a palace in only three months. In order to make this a reality her clueless court architect Edifis has to travel to Gaul and enlist the help of you-know-who. So once again we have the formula of a journey out and back (the pirates are thumped again, or rather scuttle their own ship rather than have to take a beating), ending up with a celebratory banquet back home. Along the way there’s a lot of local colour, from the imperial architecture (which I loved as a kid) to the clever way the Egyptians speak in hieroglyphics. These speech bubbles rhyme and even cross over with the always creative grawlixes, which aren’t just typographical characters but take the form of storm clouds and skulls.

As a comic it’s also very smart. You have to be on your toes to catch the jokes that are happening even in the margins. And then there all the Latin tags and historical winks. As Asterix is leaving he says to Cleopatra “If, one day, you want to build something else in Egypt, a canal between the Red Sea and the Mediterranean, for example . . . well, then call upon someone from our land, by Toutatis!” This is a nod to the fact that it was a French company that was in charge of building the Suez Canal in the 1850s. I think most readers, especially French readers (and we’re talking about children here), would have got that in 1965. Today I’d bet against that sort of general knowledge.

I don’t know if this is my favourite Asterix story, but it’s the one that first comes to mind whenever the subject of Asterix comes up. Not all of these comics have kept their glow over the years but this one has and it made me happy that I decided to revisit the whole series.

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