Crappy weather all over the Northeastern seaboard this weekend. It’s time to do some MAJOR catching up.
The Immortal Iron Fist: Orson Randall and the Death Queen of California (*****)
This is the best story to come out of the new Iron Fist mythos. It should be noted that I’m including the main Iron Fist series in that statement, which means that this book actually manages to outshine Fraction and Brubaker’s work on the character and the title. I never thought I’d find myself in a position to make a statement like that. But that’s how good this one shot is. Swierczynski takes the Orson Randall character and puts him exactly where he should be; a hot blooded noir tinged Hollywood at the end of the 1920′s. He proceeds to spin a yarn that effortlessly combines the Eastern sensibilities of the Iron Fist with the American culture of the early twentieth century. It’s a detective story in the good noir tradition, complete with everything kicked off by the voluptuous and mysterious woman coming out of nowhere to present her problems to the protagonist, who in turn can’t keep her our of his mind while he tries to focus on the task at hand. Of course, she’s not who she originally claims to be, and thus the mystery unfolds. Sure, it’s procedure, but things become procedure because they work. Which is not to say Swierczynski simply follows a script here and plays by the rules. Something as simple as naming the female lead Galatea (who is of course the name of the woman statue from the Greek Pygmallion myth) starts to pique the interest of the mind.
The most important part of any noirish book is the narration. It’s the only entrance you have into the story and the main character. The window into his thoughts. Duane is more than capable here, and his narrative captions move the story along swimmingly. The story itself twists and turns upon itself over and over as new details come to light and more characters enter the picture. You’ve also got that inevitable moment where the detective proves he’s a badass, which in this story is represented by Orson having a meeting with a film executive and using some pistachio shells to his advantage. Did we need to know Orson Randall is a badass? Not really; he is an Iron Fist after all, and the work done in the first arc of Immortal Iron Fist as well as the Fraction penned Green Mist of Death one shot certainly established the level of badassery at play when Orson Randall is around. In this case, however, Duane is specifically making sure that this book is perfectly accessible to anyone that might deign to pick it up. Truly, there’s not a whole lot of actual Iron Fist talk until later in the book, and Orson very rarely appears with his cowl early on. This is simply an awesome noir story that anyone can read. I gave it to one of my roommates that is a big noir fan, and while he may not have gotten as much out of it as those of us with a larger information base about the Iron Fist mythology, he still loved it.
The art is also excellent here, and the work of Giuseppe Camuncoli is very different than what we’ve become used to in the various and sundry Iron Fist books since the relaunch. It also follows the standard approach of using different art for different eras. With this being a standalone one shot, things work despite the different art style than what your average Iron Fist fan would be expecting. It more than gets the job done, and there are some beautiful sequences that show a strong grasp of sequential art. It enhances the story without being garish or jarring, and both halves of the book work in a wonderfully symbiotic fashion, which is exactly what you want from a comic.
This is a gorgeous book, and probably the best Marvel one shot I’ve ever read. If not for the mad power of Casanova #14, this book would be a strong candidate for my favorite single issue of the year. It’s super accessible, wonderfully written and wonderfully drawn. It is completely worth the four dollar cover price (which I did pay in full, as I managed to forget to order it from DCBS). EVERYONE should pick this book up, if not only to enjoy the story but to see a taste of what Duane Swierczynski is doing with Iron Fist post Fraction and Brubaker
Fables #76 (***)
MASSIVE SPOILERS FOR THE ENTIRE FABLES SERIES. YOU HAVE BEEN WARNED
Still with me? Cool.
This kind of issue was probably necessary after the conclusion of War & Pieces. You had to have the moments that deal with Gepetto and his attempts to reacclimate himself with polite society after signing the Fabletown charter at the end of issue 75. And considering the art demands that faced Mark Buckingham during War & Pieces, it was as good of a time as any to spell him with pinch hitter Mike Allred. It’s also always been the case that the non-Buckingham issues have never been heavy on story progression. So we have a breath catching interlude to take care of things. This issue does not answer the question of “where is this series headed?” after the huge shake up of the Adversary being captured and brought into Fabletown, but that’s not something that had to be answered immediately. You have what is pretty much expected. Pinocchio and Beast take Gepetto out for a tour of the town, and the inhabitants of Fabletown aren’t exactly pleased with their newest resident. He is spit on, denied food, and generally reviled. No shock there. The only problem with this is the fact that it’s basically an auto pilot issue. Willingham doesn’t do anyhting big or spectacular, nor does he do a lot of character building that we haven’t seen before. The art is capable enough; this isn’t Mike Allred’s first go around in the Fables universe. It’s certainly a different style from Buckingham, and the only part of it that’s really jarring is Allred’s rendition of Pinocchio, which is completely different from Buckingham, even down to hair color. Even still, that’s not the kind of thing that’s going to ruin a book. All told, it’s an adequate installment of Fables. It’s not reaching for the stars and it’s not slumming. It’s just there.