Showing posts with label Marvel Comics. Show all posts
Showing posts with label Marvel Comics. Show all posts

Saturday, April 11, 2026

Drafted The story of One Man’s time in the Military

Between 1964 and 1973 some 2.2 million American men were drafted into the U.S. military to fight in the Vietnam War, the graphic novel by American artist, writer, and cartoonist, Rick Parker, Drafted, is his personal story of his time in the Military.

For those of you (like myself) who know of Rick from his many years working on numerous Marvel comics (including the Beavis and Butt-Head comicbook), his various Papercutz comics and graphic novels, or perhaps his artwork which has appeared in various publications, including  The New York Times, The Village Voice, Time, Life, U.S. News & World Report, or other publications he is a talented cartoonist with a very sharp wit. Parker began his professional work at his start at Marvel Comics, in the late 1970s as a letterer for, working quite a bit for Spider-Man editor, Jim Salicrup.

He also was one of the four original artists of The Pekar Project (SMITH Magazine, 2009–2010), which brought the writing of the American autobiographical comics pioneer Harvey Pekar to the web. In addition to his extensive Marvel work, he went on to again work for Salicrup  over at Papercutz, where he not only drew the introductory pages of Tales from the Crypt, but  illustrated a series of graphic novel parodies—written by Stefan Petrucha including Diary of a Stinky Dead Kid (2009), Harry Potty and The Deathly Boring (2010), Breaking Down—a parody of the Twilight series—(2011), Percy Jerkson and The Ovolactovegetarians (2011), and The Hunger Pains (2012).

After years of working for other companies on other people’s properties In 2024, Rick decided that it was time that he worked on a project of his own. He wrote and illustrated a 256-page graphic novel about his time in the U.S. military during the Vietnam War. To be sure, while Rick did serve in the Army for around three years during that conflict, he wasn’t actually deployed into a war zone or overseas, but was stationed here in the U.S. In his eye-opening, and often entertaining, and disturbing tale, Rick relates the story, a shy, inexperienced, and overly protected teenager from Georga, who got drafted into the United States Army at the height of the Vietnam War and weathered out his time without it seriously damaging his true self.

Rick begins his tale from the time he graduated high school and entered a local community college. However, However, shortly after turning 18, his draft number came up, and he was having so much difficulty with his studies, that he wound up flunking out of school. However, he was bound and determined to reregister as soon as he was able, but it was to no avail, as he was tapped by Uncle Sam to enter the military, something he did with no small amount of trepidation. From here Rick goes through the many steps of transitioning from civilian life to the early days of being inducted not the military, and how disorienting that was. He described in detail how those initial days in boot came were, and if you ever saw any military films where bootcamp was depicted, then you have a pretty good idea of how those days were for Rick.

From Georgia, Rick went for his training into South Carolina, and as he had served two years in high school in ROTC training, he was immediately promoted to squad leader. Here again, Rick went into all sorts of daily details of what training was like, as well as his thoughts, and concerns as he moved through his day-to-day life. This included everything from digging fox holes, to marching, to learning to fire all sorts of weapons (including bazookas) and driving a tank, to going out and drinking with his patrol mates.

Eventually Rick was transferred to an army field artillery unit in Oklahoma, where he went through officer training. There he and his contemporaries were put through more training, hazing, workouts, getting yelled at by their superior officers, and cleaning everything, to within an inch of its life. In camp, everything was regimented, how you sat, how you spoke, how you cleaned, how you walked guard duty, and even how you prayed at mealtimes. Rick recorded it all.

One area where Rick had difficulty was targeting the howitzers, as this required a working knowledge of trigonometry, a subject that Rick had repeated difficult with. Later on, during a war game exercise, Rick got separated from his team and was captured by the opposing forces. He and the others captured were herded off to a mock P.O.W. camp where they were “tortured” by their captors, much in the same way the Viet Cong would torture them if they were caught in actual combat.

Eventually Rick and a fellow captor were left alone in a secure area where there was a hole n the ground. The pair of them saw it as a way to escape, and each crawled into the pit and out through the tunnel below ground. Unfortunately for Rick, while his companion went in head first and was able to crawl his way out, Rick mistakenly chose to go down into the hole feet first, and as there was no way to either crawl out, or turn around, he was forced to crawl feet first through the length of the tunnel to the exit to escape. Once out, the pair eventually made their way back to their own lines.

From here, Rick was transferred to missile school which indicated that he wouldn’t be going to ‘Nam—which relieved both him and his mother. In his new billet, life was a bit easier, as he was commissioned as a second lieutenant. During this time not only was President Kennedy assassinated, but Martin Luther King was also shot and killed. In addition to this, one of the soldiers at the base was also killed in a motor vehicle accident. Rick described each of these incidents and how they affected him at the time. He also related how he was asked to draw pictures of several of the men in his group, Rick even related an incident where he met a local girl and lost his virginity to her.

Shortly after that his group was transferred to Utah to meet up with a German NATO team to practice transporting a Pershing missile. Unfortunately, before the missile was fired, Rick was transferred back to Fort Sill, and he never got to see the missile fired. While back at the fort, while the rest of his group were still out on maneuvers, Rick was the highest-ranking officer on the base, which caused him to be called to deliver news of the unfortunate death of a soldier to the dead man’s wife, who was still in the hospital shortly after having delivered their baby.

As Rick’s time in the military drew to a close, he detailed a number of his remaining duties, including conducting a funeral ceremony for a soldier who was felled in ‘Nam, and to present the flag that covered the soldier’s coffin to the man’s four-year-old daughter.  That final act completed, Rick made his way back home by a rather roundabout route where the story finally ends.

Having grown up during that same time period, but having missed out on being drafted myself (I’m just a tad younger than Rick, and thus turned 18 shortly after the draft had ended) I was singularly unaware of what military life had been like during that era, and was rather surprised and shocked by quite a bit of Rick’s experience. Still, I found his story not only interesting, but engaging, and very well told. As a cartoonist, Rick’s art had a “cartoony” style to it, rendering it not so much like Beetle Bailey, but not quite like Marvel’s The ‘Nam either, softening some of the harsher elements, and making the whole thing relatable to the reader. All-in-all, it proved to be a thought-provoking and noteworthy tale that is well-worth reading.

Thursday, November 07, 2024

Guy Dorian, Sr. interview: The Marvel Years

Here is one of my older articles that originally appeared on a website with which I am no longer associated, hence I wanted to repost it here in my blog for all to see. This article is from 2016

* * * * *

If you don’t know who Guy Dorian, Sr. is, then you simply  haven’t been paying attention. He had his first comic work published at Marvel Comics in New Warriors #48 (1994). Guy so impressed his editor, that it was just the start of his career at Marvel. He’s worked on Marvel Comics Presents, Daredevil, Night Thrasher, and many projects over the years. Some of his other comic work includes work on UltraForce, Hari Kari, Bad Girls, Hakkiro Soul Quest, and many others. Not just making an impression on the comics themselves, Guy has worked on many trading card sets for both Marvel and DC Comics.

In addition to all of his comicbook work, Guy has actually expanded beyond comics, and has built up his portfolio in a variety of different art fields, such as toy designs (for WWF/WWE), trading cards (again including for the WWF), coloring books, magazine covers, stickers, billboards, newspaper comic strip ads, and much more. Some of these other works include Hercules and Xena watch designs, character development for the Silver Surfer cartoon series, Star Wars Comics to Color and the list goes on and on.

Even beyond to his artwork, Guy is also a lecturer focusing on fine art as well on professional comicbook art, and is available for speaking engagements at businesses and corporations. Currently he is working closely with the Jack Kirby Museum and Research Center on big projects (that he discusses in this interview), as well as character development for Marvel Comics Avengers Assemble, and a self-published comic that he is working on with his son (Guy Dorian, Jr.) and others.

We recently caught up with Guy and (finally) got the chance to talk to him about his very busy, very full schedule.

RJS: So when did you break into comics?

Guy Dorian, Sr: I broke into comics at the age of 22 almost 23. I had tried for about two and a half years to get into Marvel, with the help of my brother Ian, Mark Pacella, and Dan Panosian, as well as my wife’s willingness to wait, and also my aunt Trudy who helped me financially to go back and forth into New York.

Thanks to my brother’s connections with Mark Pacella, I became his assistant. When I met Dan Panosian both he and Mark brought me into Marvel…Dan took me into Marvel to see the editors. So after two-and-a-half years of trying to bring up samples into Marvel — which was a wonderful place to hang out back in those days — you could hang out in Marvel and talk to everyone and meet everyone; and I would do my samples right there at Marvel. The editor I had seen first was Ralph Macchio. He looked at my work and said it will take you about two-and-a-half-to-three years to get in; he was right on the money. Finally, after many years of struggle, with my wife and I eating peas out of a can for our lack of money, and many tears on the train ride home, I walked in to Rob Tokar’s office where he was doing New Warriors and showed him my samples. I went into his office he started to look at my work, and he got a phone call right then. He seemed to be on the phone and I didn’t want to interrupt him so I decided to leave thinking…“Oh well, I guess I won’t have a job again.” But as I was walking out he said, “Hey, what’s your schedule like? I think I have a job for you.” Just like that, I began my first job at Marvel.

Actually as I recall now my actual first work was through the Daredevil office with Editor Pat Garrahy. Pat was Mark’s editor, I believe, and said, “Hey, why don’t you do some samples of Daredevil…here’s a script.” It was a backup story. That was the first actual paid work I got — I got paid $50 per page for those pencils. He then bought a pinup of Daredevil from me but it was never published. He also bought a double-page splash pinup of the Fantastic Four. So that was really my first work. As I mentioned before, I started my work on I believe issue #48 of New Warriors, and Rob Tokar purchased a pin-up of Nova from me.


RJS: What was it about comics that drew you to them?

GD, Sr: At the age of maybe eight or nine my brother Ian and I saw comics on the stands and were amazed by them. Comics by Jack Kirby, Walter Simonson, Neal Adams, John Byrne, Michael Golden, Herb Trimpe, Sal Buscema — to name a few, had captured our attention. The Fantastic Four, The X-Men, The Incredible Hulk, Captain America, Iron Man, Spider-Man, Batman, Superman, Green Lantern, The Flash — not to mention the cartoons and audio books that we purchased as well as toys. These things made us want to draw comicbooks. At a very early age my twin brother (Ian) and I studied from artists like Michelangelo, Leonardo DaVinci, Albrecht Durer just to name a few. We were both sent to a gifted school and there we gained a lot of confidence that we could actually acquire those high heights of becoming professional artists.

RJS: You really have bounced around not only in the kinds of books you’ve done but the type of art you’ve done. Everything from comics to tour designs, to — as you told me at Winter Con; sculpting and landscapes — how do you explain that?

GD, Sr: Sr: Well, I bounced around because I consider myself an artist first not only in the field of comics but in many forms of fine art. I have always loved to draw paint, watercolor, sculpt, build, write, and dance. I’ve even done acting. I’ve worked on comicbooks, toys, games, movies, I’ve been printed in comic strips, coloring books, trading cards, toy boxes, t-shirts, calendars, you name it. I’ve done hundreds and hundreds of commissions that have been spread all around the world from portrait art to paintings to pen and ink drawings of scenes, places, people, everything. Of all things I am most asked to draw its usually comicbook characters. I started out spreading my wings in the ‘90s while I was at Marvel and I spread into the toy companies such as Toy Biz, Courier International, and just toys as well as others. I worked on such things as The Tick, Pony Trails, The Three Stooges, Wind in the Willows, Hercules, Xena, Nerf Guns, Power Rangers, WWE (at that time WWF) figures and trading cards and any other toys I could work on.

RJS: Do you think that art is art and that it is something genetic or do you think that is a learned trait? I get that you can teach technique, but do you believe that some people are simply predisposed to be better at it than others?

GD, Sr: Well as far as art is concerned everyone can learn technique, whether or not they are good or bad, people can learn…well, at least the average person can learn how to use technique to make art that looks interesting. There are a lot of techniques that through practice people can use to do works of art that may seem to be okay to fantastic depending upon how well they learned the medium…How well they learned those techniques, but some people like myself have a different sense. Where we can just see art as design, structure, light and shadow, color atmosphere, texture, energy and feel it. See it and embody it, because it’s just how we see the world. Whether we never took one lesson or took a hundred thousand lessons, we would be able to produce artworks of high quality that are beyond what most people would normally be able to do. But if you asked me to sing I can’t do it. How lame.

RJS: Given that you seem to be doing all sorts of art these days is there any that you prefer more than others:

GD, Sr: No, there is no one type that I prefer over another. I prefer the challenge of creation, the challenge of inception, and understanding. I prefer the challenge of accomplishment and reaching a goal. I prefer to be tested, and I prefer to conquer and achieve. Whatever type or style of art or medium that is required, those are the factors that make me enjoy them equally no matter what they are.

RJS: Your brother, Ian is also a very talented artist in the same field of comics. Is there any rivalry, friendly or otherwise between you two?

GD, Sr: There is no rivalry between the two of us. We do try to influence each other to do better and push each other. We can work well together at times and other times we don’t work well at all. I would say that you know I started out as a professional when I was 22, my brother started out doing small parts of some of the projects that I had when I was younger and working in my early twenties. Ian went off to college to get his Master’s degree and become a professor, and became a professional stone carver, sculptor, as well as painter, illustrator…you name it he has the degree to prove it. So now that we’re both professional illustrators working in comics and for the same company! It is very special, and we actually bonded even closer because of that. We both worked on the 2015 Avengers Assemble calendar, but the one that has more of the buildings on it was done by my brother. We worked with Chris Sotomayor’s SotoColor on that and that was a fun job in some ways and in other ways it was very difficult. So we’ve worked on the Avengers calendar, commercial art that will be used for many things over the next few years on clothing; shirts, pants, shoes, books, hats, you name it…my brother was mostly the counselor and I was mostly the inker. Sometimes he did a little drawing on the computer and sometimes I felt that a little change of the figures in the illustration would improve the result. All in all, it was a fun gig in the end…and very rewarding to do that Avengers Assemble 2015 calendar.

RJS: Have the two of you worked on any projects together before in the past?

GD, Sr: Yes, we have. We have worked on different projects to help one another out at different times such as back a long time ago when I was working on toys for tour companies, (I had done many different things from many different companies) he had helped me with some scopes for Youngblood. He helped with trading cards for the WWF, which is now called the WWE. We have worked together on stories, some eight-page, some book length stories, that 2015 Avengers Assemble calendar, illustrations for consumer products, and animation as well as more projects that I cannot think of at the very moment.

RJS: Is there any existing character you’d like to work on that you haven’t already?

GD, Sr: There are several. My number one character that I’d like to work on would be The Incredible Hulk, others would be Dr. Strange, Man-Thing, Mister Miracle, Machine Man, Black Panther, possibly Spawn, as well as the X-Men… maybe Green Lantern. I have illustrated most of those characters on or in some capacity over the course of the 22 years as a professional. I have, I could say a lot of them were done on a trading cards as well as some paintings and such, but as far as full issues most of the main few that I mentioned in the beginning were my big hitters. Oh, I forgot to mention of course the Fantastic Four! I did come up with a story based on one of the characters of the Fantastic Four that I would like to pitch to Marvel. I do have a great writer involved — a very famous one — to help me pitch that.

This is part one of a two-part interview with Guy Dorian, Sr. the second half of the interview can be found here.


The Avengers, all members of the Avengers, The New Warriors, Daredevil, and all artwork associated with those character are © & TM 2015 Marvel Entertainment, Inc. All rights reserved.

Coping with the New Activism poster  © & TM 2015 PKMM Entertainment/Guy Dorian.

Funnybook City, and this article is © 2015 & 2024 Robert J. Sodaro, D.B.A. Freelance Ink. All rights reserved.


Robert J. Sodaro is a noted comicbook historian and journalist who began reading comics during the early ‘60s while sitting on the newsstand in his Uncle’s “Mom & Pop” grocery store. He has been writing about them in the early ‘80s, and wrote for virtually every print comicbook publication published during the ‘80s & ‘90s. These days, much of his writing can be found on Hubpages.com/@robertjsodaro.

Thursday, March 14, 2024

Non “Funny” Funnybooks on the Rise

We’ve been reading comics since around 1961. It is — as we’ve often said — our preferred form of entertainment. In fact, the guy we’ve been buying comics from for most of the past 20 years once told us that something that made us unique among his customers, was that I loved comics. I loved them 50 years ago, 40, 30, 20, and 10 years ago. He wasn’t wrong. I love comics. It has been the one constant over the course of my life.

When I was first introduced to comics, they were comics targeted for kids (Disney, Harvey, others). To be sure, I also read just about every other kind of comicbook I could get my hands on, westerns, war stories, horror, romance, it didn’t matter, so long as they were comics. As a youth, one of my favorite comic titles was Treasure Chest, a series that was published by the Roman Catholic Church and told stories of the saints, as well as other types of stories as well.  (And yes, I also read syndicated comics and editorial cartoons as well.)

Eventually I discovered and wholly embraced superhero comics, however, I never forgot that there were other kinds of comics out there. In fact whenever I’ve discovered non superhero, nontraditional, comics, I’ve attempted to acquire them, which is precisely what I did last year while attending a comicbook con in New Jersey. It was there that I spotted a special Spider-Man Far From Home comic that was issued by (and probably available with) Kellogg’s cereal. After expressing interest in the comics, the table owner showed me three other comics that were issued by the Philadelphia Electric Company issued in 1980, explaining how electricity works.

While as full-on aficionado of Marvel Comics since 1962 I was obviously eager to acquire the Spider-Man comic, but as a lover of the medium itself I also totally wanted the three Philadelphia Electric Company comics as well. Truth to tell, part of the reason that I was so excited to acquire the three comics on electricity, is because my father was an electrical engineer and while I was quite young, spent time explaining to me how electricity worked, in pretty much the same way one of the Philadelphia Electric comics did.

So, to talk about the four comics, first up is the Spidey comic. Issued by Kellogg’s in conjunction with the Far From Home movie, the eight-page comic was written by Sean Ryan and illustrated by J.L. Giles tells a quick tail that is actually totally unconnected from the film itself about how Spidey, while on patrol, comes across an unnamed villain using a hi-tech clove to rob a bank. Unfortunately for the crook, he was mostly unfamiliar with the way the glove worked. Fortunately, as Peter is a science and engineering student in addition to being a superhero, he managed to acquire the glove, disabled it, and turned it over to the cops, who had already arrested the perp. The back cover to the comic was a superhero word search.

Next up are the three Philadelphia Electric comics, all of which are printed on newsprint (the Marvel comic was on high glossy paper), and two of the comics were clearly targeted towards younger readers (featuring anthropomorphic characters), while the third is aimed at more of a young adult audience. Electric Safety from A to Zap! Is a 16 -page comic featuring a cat and a mouse who keep getting shocked by electricity as they kept running afoul of various power chords and outlets. Soon they start talking about energy and how it is generated and transferred. After learning about how electric power makes things work, they eventually learn how not to be zapped by electricity and how to be safe around it.

Learning to use Energy Wisely!  Is also a 16-page, newsprint comic with both human and anthropomorphic characters. The comic starts out with a boy turning on numerous electrical appliances, and then asking his father to read him a story. The story the father read was entitled Pigopolis. It was a story about how a community of pigs learned how to read and build a large city at the edge of a dense forest.

As the pig population grew, they sought to expand their city by extending their city limits by cutting down more and more trees in the forest, and using the cut trees to power steam engines, run their factories, amusement parks, power plants, and heat their homes. Unfortunately, as the pigs expanded their city, they deforested the woods, and displaced the creatures who lived there.

The Pigs continued to grow their city at an accelerated pace while reducing the size of the forest, irrespective of the creatures living there. One day, a young pig wandered through the forest to the far side of it to discover a monstrous creature called a Grok who loved to eat pigs. The young pig then hurriedly returned to the city to tell the others that they needed to preserve the forest to keep it as a barrier between them and the Grok. Learning their lesson the pigs curtailed their unchecked deforestation, and better cared for the environment around themselves.

The third comic from the Philadelphia Electric Company, The Story of Electricity, is once again a 16-page, newsprint comic. As stated, this one is targeted more for an older, young adult audience (think middle or high school). This story starts out where a group of kids are home during a thunderstorm when a tree falls across some power lines and a power crew show up to repair it. The kids approach the repair crew, and one of the crew begins to explain about the power grid, how it works, and more. Eventually the kids are invited to come out to the power plant to learn more about how the power grid works.

The rest of the comic tells some of the background about how electricity was discovered, developed, and put to use. Quite a bit of background it offered up to give a very thorough background and history of the development of electricity and its application and uses in today’s modern-day world. All of this background includes the use of turbines, computers, microchips, and how the grid itself works, turning this comic into a very thorough background on electricity.

Again, we love these types of comics because they expand the base of what comics are and are perceived as, plus they can help make complex information more accessible (and entertaining) to people who could better benefit from that information. 


Monday, February 20, 2023

ShieldMaster to the Rescue


While comicbooks themselves (one word, not two, we’ll explain later)[i] can be trace back to Geneva, Switzerland back in 1837 then then jumping to appear in the UK and the U.S. in the 1840s. Here in the U.S. the recognized dawn of comicbooks in the States began in 1897, with the publication of The Yellow Kid in McFadden’s Flats has long been considered to be the first U.S. comic book (still one word, more later), insomuch that it actually bore the phrase “comic book” on its back cover. Still, it wasn’t until 1938 and the debut of Superman in Action Comics #1 that the Golden Age of comics truly began. This Golden Age ran from ’38 ‘til ’51, with the resurgence of comics as viable pop culture medium occurring during the Silver Age which ran from 1956 through 1970[ii].

Throughout the intervening years, comics have morphed into various changes, altering size, price point, format, delivery methodology, and even ultimately jumping from the static page to TV, Film, and currently living on the internet. Still, for those of us who were first introduced to comics in their “All in color for a dime”, 32-page, episodic original incarnation; even those of us (your humble narrator included) who came of age during the second (third?) great age of comics; The Silver age which ran from 1956 through 1970[i].

Needless to say, there were some folks who were there during the Golden Age, who stuck around and/hoor were still influential in one form or another. One of those people was Joe Simon, who was the partner of Jack Kirby who has been credited with founding the look of the Marvel Universe. It is no secret that one of Joe and Jack’s greatest creation has been Captain America, who, in his first cover appearance was depicted as punching Adolf Hitler in the Jaw on the cover of Captain America #1 in 1941 a full nine months before the U.S. entered the war.

Now some 80+ years later, Jesse Simon, the Grandson of Joe, along with his father Jim (Jo’s son) have brought a new set of heroes into the fold, all reminiscent of his grandfather’s greatest hero. ShieldMaster is a comicbook about four teenagers from Montauk, NY just off the eastern end of Long Island. The teens wander onto a decommissioned military base and come across a set of extra-dimensional shields that imbue them with supra-normal powers and abilities, transforming them into the incarnations of powerful warriors that once protected another world in another dimension. The first two issues of ShieldMaster initially appeared as an Illustrated graphic album entitled ShieldMaster Comics Phoenix Project and was then continued as ShieldMaster Comics in an anthology comic, packaged with The Fly in a new story by Jim Simon as well as a Blue Bolt reprint by his grandfather, Joe.

Upon reading the series, the first thing readers will see is the similarity in art style between the that of Reed Man’s and the art of many of the popular comics from the Golden age. Another aspect of the series is the rather simplistic storytelling style. To be sure, this is not so much of a slam as it is an observation of a comics historian with 50 years of first-hand knowledge of the field, from multiple angles; from that as a fan, a journalist covering the field, as well as a professional working for both major and minor publishing houses, plus publishing my own comics.  

One of the aspects of ShieldMaster (as well as Golden Age) comics is the shear simplicity of the storytelling; heroes are good guys because they do the right things, while villains are bad because they do bad things. There was little if any subtility to the storytelling during that era, some of which spilled over into the early days of the Silver Age with the appearance of the original Brotherhood of Evil Mutants in X-Men #4 (March 1964), because truthfully, no real world organization would actually use the word “evil” as part of their name. As the medium evolved, subtilty and layers of storytelling were added to what was once believed to be solely a child’s medium. Needless to say, this simpler, straightforward style of storytelling is not entirely without its charm. Plus, for all of its layered subtility, a simpler, more to-the-point style of telling a story is probably more effective for a small publisher without a clear, regular publishing schedule.  

Having said all of that, as someone who spent the Lion’s share of his life reading, and working in and around comics, seeing the scion of a comicbook legend entering the field is a most amazing, and heartfelt sensation. (Back in 2010 Jason Goodman, (another third-generation offspring, the grandson of Martin Goodman (who founded Atlas, which became Marvel) and the son of Chip Goodman (who launched Atlas/Seaboard back in ’74) attempted to bring Atlas Comics back into the funnybook publishing industry with the characters from the ’74 re-launch.

In conclusion, we wish Jason and Jim all the best in their noble endeavor to keep Joe’s legacy alive in the field that he help found.

For more information about ShieldMaster, check them out on Facebook, or Twitter.



[i] Stan Lee once stated that “comicbooks” should be written as one word because they are neither either “comical” or “books” but by combining them into a single word, they actually become an entirely new genre. Hence we have since referred to our medium of choice by the nomenclature that Stan laid on it.

[ii] The accepted eras for comics are as follows:

1 Platinum Age (1842-1938)

2 Golden Age (1938- c. 1951)

3 Silver Age (1956 -c. 1970)

4 Bronze Age (c. 1970 – c. 1985)

5 Iron/Modern Age (c. 1985 - present)

 

Wednesday, February 06, 2019

My Heroes Have Always Been Killers

One of the very first articles I ever wrote was this extended essay about why Wolverine should e allowed to be a killer. The article was my measured response to a statement from then Editor-in-Chief Jim Shooter, who was reacting to an X-Men story written by Chris Claremont where Wolverine (apparently) killed a couple of thugs during an X-Man Op. Shooter took exception to the killing, stating that “Heroes don't kill” a sentiment to which I took exception. This then was my response. 

**********


John “Duke” Wayne, who was presented with a medal from the Congress of the United States proclaiming him to be “An American,” killed someone in every movie he ever made...or at least that is the way it had seemed to me when I was growing up. Charlton Heston portrayed several Biblical and historical figures, many of whom were killers. Jimmie Stewart and James Cagney were killers, as were Edward G. Robinson, Bogie, and Bruce Lee, and so too is Tarl Cabot of Ko-ra-ba (from John Norman’s Gor series). They are all killers, yet all are heroes of mine.

Americans have always been big on hero worship, and I am no exception. Killing is wrong, but so many of my heroes have been killers that it is often hard to separate the man from the act. I suppose that the myth that good guys wear white and do not kill is inbred in all of us (or that is what they would like us to believe). We are told that killing is immoral because it says so in the Bible. The fifth Commandment says “Thou shalt not kill.” That settles it. Except that it does not...not really.

A truer translation of that Commandment would read “Thou shalt not commit murder.” That is to say that one should not callously and maliciously take the life of another. And in spite of what anyone tells you, heroes do kill. At least all of my heroes have. But now, even that is changing.

Normally I am a Jim Shooter supporter, but he made a statement that is so foolish that it borders on the ridiculous. In an interview that was printed in FantaCo Enterprises’ The X-Men Chronicles, Shooter stated: “I don’t want the (Marvel) heroes killing people...“This was in reference to the fact that the character Wolverine has been described as a homicidal maniac and that he has been shown clawing up several people to the point of death. To this (which was also brought up in the interview), Jim responded “...one thing that I am forcing Chris (Claremont) and Louise (Jones) to do is to establish that Wolverine hasn’t killed anyone.”

This has been done in X-Men. As it turns out, the men that Wolverine slashed up (in X-Men #133) were “repaired” with bionic parts. While that lets Wolverine (and Chris Claremont) off the hook, I am afraid that it only begs the question at hand. Why is it that heroes cannot kill? As already established, heroes have already done so. As a matter of fact, the history of the Marvel universe is replete with heroes who are killers.

Sgt. Fury and his Howling Commandos, Combat Kelly, and Captain Savage all mowed down Germans during World War II as though the “lager-slurping goose-steppers” were wheat. Further still, Sgt. Fury came back as Colonel Fury, head of the international spy organization SHIELD, and he, along with his agents, cut down Hydra, AIM, and Secret Empire agents with equal abandon. There is also Marvel’s horde of Western heroes, Two-Gun Kid, Kid Colt, Night Rider, and the rest. These men would gun down owlhoots and polecats as soon as roll a cigarette. Granted, while Marvel publishes neither war nor western comics any more, they did publish, until very recently, the spy comic Master of Kung Fu. In MOKF there were several heroes that kill (Leiko Wu, Clive Reston, and Black Jack Tarr, just to name a few). As a matter of fast, in more than just a few of his martial arts confrontations Shang-Chi himself has taken the life of his foes.

I certainly agree that the medium should not portray graphic violence, and I am not suggesting a return to the “blood ‘n’ guts” of the early EC Comics. But heroes can kill. The most flagrant exceptions to Jim Shooter’s decree of heroes not killing are King Kull, Red Sonja, and Marvel’s number one selling killer, Conan the Barbarian. While Kull and Sonja no longer have regular comic books, Conan is still going strong. Now does Jim expect us to believe that Conan has neither killed, nor will he do so in the future? Somehow that seems more than just a bit far-fetched. Do you suppose that in the future Conan will be forced to carry a rubber “mercy sword” so as not to give off a bad image to the kiddies? He would be laughed out of the barbarians’ union.

What is the matter with killing? It is American as Mom and apple pie. And besides, there are still more killers at Marvel. Most of Marvel’s licensed characters kill; James Bond, Luke Skywalker, Leia Organa, Han Solo, and the rest of the Star Wars cast kill. Will Jim have all of them stop killing too? Still one can argue that licensed characters are just that...licensed, and that they were killers before they came to Marvel. Therefore, there is no reason why they cannot kill now. This would exempt everyone from Gullivar Jones to Indiana Jones. Somehow though, that does not seem right. If Wolverine cannot kill, no one else should be able to either. After all, the same kiddies who buy the X-Men are picking up Star Wars and Conan.

Jim’s attitude seems to be that portraying Wolverine as a homicidal maniac encourages young children to go out, have adamantium claws implanted in their wrists, and carve up their friends. To any rational person this seems hardly likely. Still, the issue at hand is violence, and violence is very much a part of superheroing...and killing is a part of violence. Bad guys kill, and sometimes (though not as often) good guys kill, too.


Much to his credit, Jim Shooter did say that when Chris is ready to have Wolverine kill someone, he would want Chris to, “... play it out, address that new conflict...have the guy brought to trial. Let’s see if it’s OK for him to kill someone. Let’s see if it was self-defense. Or was it not necessary? And if it wasn’t, what do they do?” What he had in mind was probably along the lines of what happened to Iron Man in issues #124-127 of his own book, when he blew away (literally) the Carnelian Ambassador. As it turned out for Iron Man, his armor was being controlled by Justin Hammer, and thus Shellhead was exonerated. Yet, what Jim has failed to realize is that Chris has already addressed the issue of Wolverine killing.

There are at least three specific incidents in which Wolverine has killed, or potentially killed; the first lime was in X-Men #116, while the X-Men were in the Savage Land. Wolverine, Storm, and Nightcrawler were attempting to save Cyclops, Banshee, Colossus, and Ka-Zar from Garokk and the High Priestess Zaladane. As they entered the citadel where their friends were being held, they chanced upon a guard. Wolverine stated “... this guy’s mine.” So saying, he stalked forward. In the next panel we saw Nightcrawler and Storm wince in horror as we heard the telltale “snikt” of Wolverine’s claws, indicating that he has cut down the guard. (One cannot help but to wonder if Jim will ‘‘force” Chris to have the X-Men return to the Savage Land and show that the guard never truly died, but survived, and was “rebuilt” with dinosaur parts.) The second lime he “killed” is the aforementioned time where he carved up those three goons at the Hellfire Club. The third incident took place in the X-Men’s 1981 annual (#5), when they went up against the forces of the Badoon in defense of Arkon’s world.

For the first killing, I would like to take as Wolverine’s defense the same as was taken by the writer of the letter column of the now defunct comic Shanna the She-Devil. In issue #2 of that book, Shanna was held prisoner by the Slavers. While in her cell she faked a fight with her pet jungle cats Ina and Biri (also taken captive), pretending to be in great danger. The guard, not wanting any harm to come to Shanna — as per his master’s orders — rushed into the cell to protect her. Once he was in the cell, Shanna had the cats turn on him and claw him to death. The fans were outraged. How. could such a thing come to pass?

Well, the person who answered the letters (I believe it to be the author of the book) put it this way: “We wonder...if, instead of Shanna and the leopards, it had been, say, Sgt. Fury pretending to get into a fight with Dum Dum (as Shanna did with Ina and Biri) in order to lure a Nazi guard into his cell (as Shanna did with the Slaver) and then shooting him in order to escape.” The answerer went on to say that “...in the last analysis, what Shanna did was necessary in her role as a SHIELD operative.”

The same can be said of Wolverine. He is, after all, a military man, and thus thinks along strategic lines. If he had merely knocked the guard unconscious, the guard could have regained consciousness and sounded an alarm, thus preventing the X-Men’s escape. Dead, the guard was resolved as a possible threat. In a combat situation (which this was), any military man would have done the same thing.


While I am on the subject, I would like to (belatedly) address a criticism of this event that was raised by Richard Howell and Carol Kalish in The Comics Journal #49. They had objected to the “moral” Storm’s admiration of Wolverine’s “immoral” act of killing. They seemed to have had overlooked just what she meant when she compared him to “...the great cats of the veldt. When he strikes there is no mercy in him.” She was not truly admiring him, but rather she realized that he could no more feel mercy for the guard (his foe) than could a cat for its prey. Storm could no more object to Wolverine killing than she could to the cat killing. Both only do so when it is necessary. Further support for this stance comes from, oddly enough, Shang-Chi. In Master of Kung Fu #97, Shang’s Siamese cat caught a dove, tortured it, and left it for dead. This upset Leiko Wu, and she mourned for the bird because it never had the chance to be “... what it could have been, what it should have been.” Shang’s reply was short and to the point: “... the cat, Leiko, never had a choice to be anything else.” Storm understood this of Wolverine. So too should Jim Shooter.

It is within this new light that we are better able to understand the second “killing” incident in X-Men #133. Four men with automatic weapons were stalking Wolverine. In the fight that ensued, Wolverine sliced up three of them and convinced the fourth one to drop his gun and tell him where the rest of the X-Men were. Was it wrong of Wolverine to kill the men? Perhaps; but as previously established, it is as much a part of his nature to kill as it is to breathe. Breathing is a necessary act to live, and sometimes to survive (especially against automatic weapons), it is necessary to kill. Once again, in a combat situation, Wolverine had to be sure that his foes would no longer pose a threat to him, and the only way he could do that (he felt) was to kill them.

Wolverine once defended these very same killer instincts in a conversation with Nightcrawler (issue #140) in this fashion:

Kurt, in my life l’ve been two things: a wartime soldier and a secret agent. As one, my government paid me to kill; as the other they licensed me to kill. I was very good at both jobs. They liked that an’ I got the medals and commendations to prove it. A man comes at me with his fists, I’ll meet him with fists. But if he pulls a gun — or threatens people I’m protectin’ — then I got no sympathy for him. He made his choice. He’ll have to live — or die — with it. I never use my claws on someone who hadn’t tried to kill me first. I call that self-defense.
No one condemns the cop on the beat for killing the armed assailant, yet Wolverine is being punished for the very same act.

In the third incident, the X-Men had been summoned to the aid of Arkon and his warrior world against the might of the Badoon. Once more, just prior to battle, Nightcrawler questioned Wolverine about the use of his claws. Wolverine responded thusly: “They ain’t here for show, ‘Crawler. Of course I’ll use them. This is war, pal, an’ I’m a soldier. The Badoon are the enemy. I’m gonna show them the same mercy they’d show me.” Kurt persisted with his objections and Logan responded by saying, “Lay off, Kurt! I don’t hear you askin’ Sashia an’ the warlords their intentions.” Then as if to add impact to this statement, not four pages later Sashia (one of Arkon’s warriors, and the one who summoned the X-Men) hurled a knife into the chest of a Badoon. If the Badoon did not die, it was not for the lack of trying on Sashia’s part.

Wolverine, it seems then, is the only hero who is being prevented from killing, for virtually every other new X-Man has killed, and not one objection has ever been raised. Colossus (under instructions from Cyclops — making Cyclops just as culpable) killed Proteus. To be sure, he did not use a gun or claws, but he stood there on that castle battlement in Scotland and landed a haymaker on Proteus with that organic steel fist of his, knowing full well that it would kill Moira MacTaggert’s son. Then there is Nightcrawler, who has attempted to dissuade Wolverine from killing; he, too, has killed. Twice.

The first time was related in a flashback in X-Men Annual #4: Kurt told how he slew his gypsy half-brother Stefan. Granted, it was done at the request of Stefan (Stefan foresaw the day when he would tum evil and extracted the promise from Kurt to kill him) and Nightcrawler really did not want to kill Stefan, but he did, in fact, do the deed. The second time Kurt killed was a year later in X-Men Annual #5. During the battle with the Badoon, they had engaged the stargate in an attempt to teleport more troops to aid in the subjugation of Arkon’s World. While the gate was activated (and when undoubtably troops were being transported). Nightcrawler fired a blaster into the matrix of the gate, causing it to explode. It was never specifically stated that anyone (on either side of the gate) was killed in the blast, but if no one was, it would have had to be a miracle of no small proportions.

Even the gentle Storm has killed. Though we have never seen the act, she refers to it in X-Men #152. After having had re-exchanged her and Emma Frost’s personalities to their own bodies with the persona exchange module, she cried out, “Hear me, Emma Frost! As a child I swore never again to kill. But tonight, I’ll break that vow.” (Emphasis mine.) Needless to say, she did not kill Emma Frost, but one must ask, whom, then, did she kill? And what were the circumstances surrounding the act? There is another who has killed, Professor X, mentor to the X-Men.


In a flashback related to Lilandra (X-Men #117), Majestrix of the Shi’ar Galaxy, he met and killed, in a psychic duel, the evil mutant Amahil Farouk. Unlike the killings of his students, this was no act of self-defense. The Professor actually sought out and challenged Farouk to the duel. Conceivably the Professor could have said to the offer to join Farouk, “No, but thanks for the offer,” and then left the bar and went home. But no, he had to not only refuse Farouk’s offer, but stay, pick a fight with him, and then kill him. Why could he not just have stripped Farouk of his powers? Perhaps it is as Wolverine stated in X-Men Annual HS, “Killing comes with the territory. It can’t be avoided.”

Jim Shooter has claimed that his heroes will not kill, and he has held up Wolverine to make an example of him...yet the killings go on. In issue #38 of Micronauts, Commander Rann related a story of when he was just Prince Rann. He told how he was assaulted by several assassins, whom he dispatched with a grim finality. And as long as the subject of the Micronauts has come up, all of them have killed, or at least potentially killed. In all of their high-pitched lasersonic battles with the forces of Baron Karza, and later the Force Commander, if no one has “bought the farm,” it’s again not for want of trying. For example, when the HMS Endeavor is involved in a dogfight at several meters (several kilometers to the Lilliputian Micronauts) and a ship is shot down, someone must die in the resulting explosion and/or crash. Just because the reader does not see any broken and twisted bodies in the ruins of the demolished ship, it does not make the deaths any less real.

In Thor #316 we did see the broken and twisted body of the Man Beast, thus we do know that he, at least, is dead. He was rendered into that state by the noble Thor and his honored companion, Iron Man. Now while it is true that in his guise of the Hatemonger, the Man Beast was definitely a threat to mankind, but did these two heroes (sworn to the protection of life) have to callously blow his aircraft out of the sky? Somehow, they seemed to feel that this oath only applied to human life, and not to other forms of sentient life.

If that, then, is the case, perhaps they should have a talk with Cyclops. For in X-Men #155 he refused to kill alien Sidrian Hunters who were menacing him, Storm, and his father Corsair (along with all of Manhattan in the process). “This is no. time for scruples, boy.” Corsair told his son. “They have no compunctions about killing you — or anyone else who gets in their way.” “It’s an act of self-defense,” then you would say. “The hero must kill to remain alive, to fulfill his mission and protect innocent life,” you cry out. “Kill them, after all they are only inhuman monsters...they don’t even look like us.” All these things and more the reader wants to scream at the reluctant Cyclops, but he still refused to kill. Thus, it fell to Corsair to do the dirty deed.

Still again, it is odd that Cyclops refused to kill the Sidrian Hunters, when it was so painfully obvious that they would kill him and that they had nothing in common with the human race. Cyclops seemed to feel no remorse when he ordered Colossus to “duke it out” with Proteus (with whom he had, had very much in common as both were human and mutants). Cyclops knew full well that Colossus in his armored form was lethal to Proteus (who was going to kill Cyclops just as dead as the Sidrians would have). This, then, seems to have become a serious character flaw in Scott Summers’s personality...as he sees nothing wrong with ordering others to kill, but refuses to soil his own hands. Upon closer inspection, the flaw is not in Scott’s personality, but in the logic (or lack thereof) in Jim Shooter’s edict.

Now, there is the argument that the genre of The Micronauts, Conan, Master of Kung Fu, or any of the other “killer” comics presumes that killing is okay; this is absolute nonsense. For the Micronauts, Shang-Chi, Leiko Wu, Reston, and even Conan in his own way, are every bit as moral as Wolverine and the rest of the costumed superheroes. Just because a hero is wearing “long underwear” should not mean that he is restricted from killing his foes, while his uncostumed cousins are free to slaughter at will. Now, while the world is not quite ready for Psycho-Killer Comics, (and I am certainly not advocating such a return), I do not feel that the distinction is not only arbitrary and unfair, but fuzzy at best. Especially when the only one who is being chastised is Wolverine, while everyone else’s killings — including those of his own teammates — go by unnoticed. Policy must be evenly enforced, otherwise it is just so much meaningless drivel.

Wolverine is a homicidal maniac and a soldier. It is the basic appeal of his character. It would be more shocking if Spider-Man were to kill a foe intentionally, because it is just not in his character. On the other hand, killing for Wolverine is very much a part of the game, and no one is more surprised when he uses restraint and does not slay his foe.

Then, by way of adding injury to insult we are force fed What If? #31, What if Wolverine Killed the Hulk? Claremont goes through great pains to establish the character of Wolverine as a psychopathic killer, then goes through even greater pains (by order of Shooter) to establish that Wolverine has not killed; finally, we, the readers, have to suffer through this travesty of a story. (A more believable storyline would have been perhaps, What If the Hulk Had Whaled the Living Daylights Out of Wolverine? “Killed the Hulk” indeed.)

Yet when all is said and done, the final defense of Wolverine’s actions rests ultimately with Wolverine himself. In his own words to Storm as she threatened to kill the White Queen (from X-Men #152):

“... anyone can kill, Princess. It’s easy, I know. What takes courage an’ strength-what separates the humans from the animals — is not killin’. Some people are warriors, darlin’ — born to kill. That’s me. And some exist to show us there’s a better way. That’s you. There’s so much beauty in you ‘Roro. It’d be a shame to spoil it for the likes of her.”
Thus, we see that while Wolverine is ever the killer, he kills neither capriciously, nor indiscriminately, but only with a purpose and with malice aforethought. He kills solely to protect his own life, the lives of friends, and the lives of innocents who are under his protection. Most importantly, he kills with the full knowledge that not only is the act of killing itself wrong, but that someday, somehow, he will be called upon to account for his actions by a higher authority. And when that clay comes — which surely it must — he will use as his defense that he did what he felt he needed to do, as each situation dictated, and furthermore he will accept whatever punishment or reward as that authority sees fit to deal to him.



**********


As a postscript to this tale, after this article appeared in print, I happened across Jeff Rovin Warren Publishing and Seaboard Periodicals at the time. When I showed Jeff my portfolio, he told me that he had just read this article in Amazing Heroes, and he offered me work on the spot. It was that meeting that (quite literally) launched my writing career into the stratosphere. 

More Savage Stories of Brenda Steelhammer

Just when we thought we’ve read and reviewed all of Matt C. Ryan ’s Brenda books, we’ve discovered two more that we forgot we had. We’ve pr...