The Immortal Iron Fist 4 (May 2007)

I expected more from the Buscema and Palmer pages. The art feels like they were supposed to be going retro instead of bringing a specific style.

It’s sort of strange how much Brubaker and Fraction skip here. The issue starts with Orson and Danny being big buddies. Orson’s been showing him tricks, which we also don’t get to see.

In some ways it works–it suggests time passing between the issues, so even if they read fast, it’s not like there isn’t more going on. A downside is missing important scenes. Not Orson showing off the Jedi mind tricks, but just some character development.

Brubaker and Fraction split the issue between the bad guy–I can’t remember his name after just one mention, Steel Something or Silver Something–and the two Iron Fists. The Iron Fist stuff is a lot better.

Aja’s visualization of Orson in costume is exceptional; Danny looks left out.

CREDITS

The Last Iron Fist Story, Part 4; writers, Ed Brubaker and Matt Fraction; pencillers, David Aja, Travel Foreman and Sal Buscema; inkers, Aja, Derek Fridolfs and Tom Palmer; colorist, Matt Hollingsworth; letterer, Dave Lanphear; editors, Alejandro Arbona and Warren Simons; publisher, Marvel Comics.

Peter Parker, the Spectacular Spider-Man Annual (1979) #4

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Well, I’ve finally found something Bill Mantlo can write–little old ladies.

This issue is mostly about Aunt May and her mysterious behavior. Turns out her pre-Ben Parker boyfriend is back and sending her love letters and causing these very distracting walks down memory lane. Of course, New York’s in different shape than it used to be, so Peter and Nathan are freaking out. Spidey follows her, things get resolved.

It’s funny how well Mantlo writes May’s stuff, given how he overwrites the rest of the issue (and inexplicably retells Spider-Man’s origin). He doesn’t take any time to make Nathan sympathetic–he seems like a nasty old man–and Peter’s barely present.

The art’s fine, with some nice detail on the thirties New York panels.

Oddly, there’s the implication May never truly loved Ben Parker.

The Black Cat backup is moronic and infantile, though Randall’s art is decent.

Peter Parker, the Spectacular Spider-Man Annual 4 (November 1984)

Well, I’ve finally found something Bill Mantlo can write–little old ladies.

The art’s fine, with some nice detail on the thirties New York panels.

Oddly, there’s the implication May never truly loved Ben Parker.

The Black Cat backup is moronic and infantile, though Randall’s art is decent.

CREDITS

Memory Lane!; writer, Bill Mantlo; pencillers, Kerry Gammill and Sal Buscema; inker, Carlos Garzon. Cat and Mouse; writer, Bob DeNatale; artist, Ron Randall. Colorist, George Roussos; letterer, Janice Chiang; editor, Danny Fingeroth; publisher, Marvel Comics.

The Incredible Hulk (1968) #300

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I don’t think I’ve ever read such an overwritten comic book. Mantlo’s endless expository narration is, no pun intended, incredible. It’s not well-written narration–it does get better after a while, once he’s done introducing guest stars (I’m pretty sure he retcons out Daredevil getting doused in radioactive goo).

The story–if the issue has a story–is the Hulk going nuts and destroying New York City and everyone trying to stop him. It ends with Dr. Strange exiling him to live between worlds… or somewhere along those lines. It’s not an all action issue in the modern sense, since those read in four minutes at the most. With Mantlo’s narration, this issue is a time commitment.

Luckily, there’s Sal Buscema to pull it together. There’s occasional awkwardness in the art, but Buscema’s design–his panel composition–is wondrous. This comic book moves; with that narration, it has to.

The Incredible Hulk 300 (October 1984)

CREDITS

Days of Rage!; writer, Bill Mantlo; penciller, Sal Buscema; inkers, Gerry Talaoc, Alan Kupperberg and Danny Bulanadi; colorist, Bob Sharen; letterers, Jim Novak and Janice Chiang; editors, Jim Massara and Carl Potts; publisher, Marvel Comics.