I ventured to the comics shop again this week, lured by the prospect of interesting new graphic novel collections (there weren’t any that I could see), and I walked out with two new Marvel comics, Avengers #40, written by Jonathan Hickman and drawn by Stefano Caselli, and Fantastic Four #642, written by James Robinson and drawn by Leonard Kirk. I bought the Avengers issue mainly because I bought the one before it, yet another chapter in Hickman’s years-long storyline about a massive series of ‘incursions’ in which whole realities are colliding with each other. In Hickman’s story, a small group of heroes – the ideological descendant of the original “Illuminati” concept I liked so much years ago, is working to save Earth and the whole of the Marvel universe from destruction, and they’re willing to work together despite considerable bad blood between themselves (particularly between Prince Namor the Sub-Mariner and the Black Panther, whose African kingdom Namor flooded a couple of years ago during another protracted Marvel storyline.
In this issue, lots of these long-simmering plots come to a head – most certainly including the conflict between the Black Panther and the Sub-Mariner – and it all makes for very enjoyable reading if you’re a long-time Marvel reader who’s been following this run of Avengers and makes for utterly incomprehensible reading if you just happened to wander into the comics shop and buy this issue. This is a bit of a problem, and I’ll come back to it.
I bought the Fantastic Four issue because it’s the first chapter in a mini-arc called “The End is Fourever” – an arc that ends in the widely-publicized cancellation of Marvel’s foundational comic book title. As some of you will recall, I’m a long-time fan of the Fantastic Four and have followed their adventures through good creative times and bad, so there was an active element of nostalgia driving me to read this beginning of the end. And the issue was very satisfying: Leonard Kirk’s artwork is intensely good, and the story itself features a couple of moments that shine with the kind of open sentimentality The Fantastic Four has always done so well. I’ll definitely buy the rest of the installments in this arc, even though I know I’ll be saddened by the ultimate ending.
Or will I? It was only after reading these two issues that I became aware of the news stories that have been circulating for a while now in the comics world – to the effect that Marvel Comics is planning to do a company-wide creative reboot of all its comics this summer, in an echo/craven imitation of DC’s “New 52” reboot from a couple of years ago. According to the news items I’ve read, Marvel’s various writers and artists have known about this plan for a while now, and that may account for the slightly ragged and very savage undertone to both these issues I bought on Wednesday, in which alleged heroes are at each other’s throats and everything feels very end-of-times.
I wasn’t a fan of DC’s “New 52,” needless to say, and the idea of Marvel = a company that’s always prided itself on its long and rich continuity, maintained with so much more scrupulous care than was ever exercised over at DC – well, the idea of Marvel trying the same clean-slate reductivist nonsense doesn’t strike me any better. The irony is that in both these issues I bought the other day, the tremendous vitality of the Marvel system the way it is now was on abundant display. Here, with very few exceptions, we have characters dating from the original 1960s birth of the Marvel Universe sculpted by Stan Lee and Jack Kirby – and even earlier: one of the heroes duking it out with the Hulk in The Fantastic Four is the original Human Torch, the first superhero of Marvel’s parent company way back in 1939. The very fact that these issues can be starring recognizable – and very much dramatically viable – variations of characters like the Sub-Mariner, the Human Torch, the Hulk, the Fantastic Four, and the Inhumans proves that those characters still have enormous amounts of potential that shouldn’t just be retconned out of existence in pursuit of the 18-25 buying demographic.
I made the same objection to the “New 52,” of course, and the event itself did virtually nothing to assure me that I was wrong. So these issues of such venerable titles as Avengers and Fantastic Four may be the last ones in my lifetime where I get to enjoy that long-storied history in all its complexity. I’ll keep buying them to the end, and then I’ll report on what happens after the end.