#IReadsYou Review: THE ETERNALS #1 Still Shows Off Jack Kirby's Imagination

THE ETERNALS #1 (1976)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jack Kirby
PENCILS: Jack Kirby
INKS: John Verpoorten
COLORS: Glynis Wein
LETTERS: Gaspar
32pp, Color, .25¢ U.S. (July 1976)

The Eternals created by Jack Kirby

“The Day of the Gods”

The Eternals are a race of humanoids in the Marvel Comics universe.  They were created by the legendary comic book creator, writer-artist Jack Kirby, and first appeared in The Eternals #1 (cover dated: July 1976).  The Eternals are described as an offshoot of the evolutionary process that created sentient life on Earth.  They were created by the immensely powerful alien race, the Celestials, along with a destructive counterpart, the Deviants.

The Eternals' first comic book series ran for 19 issues from 1976 to 1977, with issue #19 having a January 1978 cover date.  Marvel Comics canceled the series before all its subplots were resolved, but The Eternals remained popular with fans, and Marvel published a 12-issue miniseries, The Eternals, in 1985 and 1986.  I never took much interest in these characters, but they are the stars of an upcoming movie from Marvel Studios and Walt Disney Pictures.  So I bought a copy of the first issue of the original series on eBay.

The Eternals #1 (“The Day of the Gods”) opens in a newly discovered, massive, underground Incan temple hidden beneath the high plains of the Andes in South America.  The discoverers are Doctor Damian; his daughter, Margo, and the doctor's mysterious young assistant, Ike Harris.  The site turns out to be the legendary “Chamber of the Gods,” and it holds the “Galaxy Plague,” an Incan stone carving that depicts the Incas' “Space God” and his space craft.

This discovery leads Ike Harris to tell the doctor and his daughter the story of the “Space Gods” that visited Earth far in the planet's prehistory and later, visited the Incas.  During their first visit, the Space Gods used their “cosmic chemistry” on “the apes” they found on Earth to create three races.  Those races were the “Eternals,” the “Deviants,” and humans.  Ike Harris is really an Eternal named “Ikaris.”

Ikaris is searching for the chamber's greatest treasure, a great “Reflector” that will summon the Space Gods back to Earth.  What Ikaris, Doctor Damian, and Margo do not know is that Kro, a Deviant, is leading a force of lackeys to the chamber to destroy the Reflector and to stop the return of their Space God creators.

THE LOWDOWN:  This story starts off with one of those typically bombastic titles, “The Day of the Gods,” that often started off many of its stories during the first two decades of Marvel Comics' existence.  From page one, Jack Kirby offers one of his typically epic and cosmic stories that extend to the far reaches of time and space and space-time.

It seems to me that here, Kirby was influenced by author Erich von Daniken's 1968 book, Chariots of the Gods? Unsolved Mysteries of the Past, or the 1970 documentary film based on the book.  Von Daniken is one of the primary 20th proponents of the “ancient astronauts” hypotheses and ideas.  Influences aside, The Eternals #1 is all Jack “King” Kirby.

Kirby's awesome architectural and structural illustrations depicting the Chamber of the Gods take in Aztec and Incan art, designs, and stone wall murals.  Kirby fills the pages with massive, brawny edifices and interiors that seem too big for the page.  The characters are also big, drawn in Kirby's melodramatic, awkward poses.  Kirby may not be among the best figure drawers in the history of American comic books, but the way he drew characters created much of the visual and graphical language of superhero comic books.  His work over a two-decade period in the 1960s and 1970s still defines the storytelling in mainstream comic books.

The lettering by noted comic book letterer, Gaspar, is perfect for this kind of Kirby story.  It pounds out the meaty, fast-paced story and captures its constant crescendo.  Glynis Wein's colors are muted, which I think is good.  She keeps from hiding the power of Kirby's pencil art, which inker John Verpoorten smartly accentuates.

By the time I reached the end of The Eternals #1, I really wanted to read The Eternals #2.  I don't want to pay premium collector's prices for the second issue, so I better find a book collection.  Oh, reading this also made me want more Jack Kirby.

I READS YOU RECOMMENDS:  Fans of Jack Kirby will want to read The Eternals... or some of you, dear readers, will want to read it to prepare for the film.

8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint or syndication rights and fees.

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I Reads You Review: UNCANNY X-MEN in Days of Future Past

UNCANNY X-MEN IN DAYS OF FUTURE PAST
MARVEL COMICS – @Marvel

PLOT: Chris Claremont and John Byrne
STORY: Chris Claremont
PENCILS: John Byrne
INKS: Terry Austin
COLORS: Glynis Oliver
LETTERS: Tom Orzechowski
EDITORS: Louise Simonson (original), Gregory Wright (reprint)
EiC: Tom DeFalco
COVER: Jackson Guice and Scott Williams
ISBN: 0-87135-582-5; paperback (1989)
48pp, Color, $3.95 U.S., $5.00 CAN

One of the most famous stories ever published in an X-Men comic book is known as “Days of Future Past.”  The two-part story was originally published in The X-Men #141 (“Days of Future Past,” cover dated: January 1981) and #142 (“Mind Out of Time!” cover dated: February 1981).  The popularity of “Days of the Future Past” is affirmed in the fact that the story has been continued and retold and has also influenced and inspired other X-Men publications and stories in the decades since its original publication.  This story is also the basis for the shortly to be released film, X-Men: Days of Future Past (20th Century Fox, 2014).

“Days of Future Past” was the creation of writer Chris Claremont and artist John Byrne, who were both credited as the story’s “co-plotters,” with Claremont providing the script and Byrne providing the pencil art.  Their collaborators were Terry Austin (ink art), Glynis Oliver (colors), Tom Orzechowski (letters), and Louise Simonson (editor).

I first read the story ages ago.  It simultaneously stunned and thrilled me, so much so that I immediately reread it.  This story had it all:  a dystopian future, an assassination conspiracy, dead X-Men, X-Men in peril, X-Men murdered before my very eyes, Sentinels (which were then new to me), the Brotherhood of Evil Mutants, and a superhero/super-villain battle.

The X-Men #141 also probably has one of the most famous (if not the most famous) X-Men comic book covers.  Over the years, I made reading “Days of Future Past” an annual event.  One of my repeat readings was courtesy of a 1989 single-issue reprint entitled, The Uncanny X-Men in Days of Future Past.  When I recently discovered that I no longer had a copy of this comic book, I bought one from Mile High Comics, during a sale.  Because of the new X-Men movie, I decided to read and review The Uncanny X-Men in Days of Future Past.

“Days of Future Past” alternates between the (then) present year of 1980, and the (then) future year of 2013.  The X-Men #141 (“Days of Future Past”) opens in the year 2013.  The story introduces a dystopian future North America that is ruled by the mutant-hunting Sentinels.  Mutants are incarcerated in internment camps, and people are classified by their genetics.  The Sentinels not only killed almost all the X-Men, but they also killed many superheroes, including the Fantastic Four.

We meet an adult Kate Pryde.  She is one of the last surviving X-Men, along with Wolverine, Storm, and Colossus.  Kate and the X-Men join Magneto, Franklin Richards (son of Reed Richards and Sue Storm of the Fantastic Four), and his girlfriend, a telepath named Rachel, in a seemingly-impossible plan to travel into the past and change the horrible era in which they live.

On the eve of a feared nuclear holocaust, Kate’s mind travels backward through time to posses the body of her younger self, Kitty Pryde.  There, she convinces the X-Men: Storm, Wolverine, Colossus, Nightcrawler and Angel that they must stop a plot by the newly reassembled Brotherhood of Evil Mutants:  Mystique, Destiny, Avalanche, Pyro, and Blob.  The Brotherhood plans to assassinate United States Senator Robert Kelly, a pivotal event in mutant–human history.

The X-Men #142 (“Mind Out of Time!”) finds the X-Men and the Brotherhood of Evil Mutants in a pitched battle in and around the Congressional building.  Meanwhile, in 2013, the few remaining X-Men make their last stand.

Apparently, Marvel Comics has designated that “Days of Future Past” takes place in Earth-811 in the Marvel “multiverse.”  When I first read “Days of Future Past,” I saw it as probably the real future for the X-Men.  I also saw it as the height of the X-Men run by the team of Chris Claremont, John Byrne and Terry Austin.  There would be no letdown, however, as this team would produce only one more issue of the X-Men after “Days of Future Past.”  Byrne exited the title to become both a writer and an artist, taking over the Fantastic Four.

As much as I have enjoyed reading the X-Men comic books that came after “Days of Future Past,” only a few have even come close to being as close to this Claremont-Byrne classic.  I think some people consider this Byrne’s best work as an artist.  For a long time, I agreed with that, but, as an artist, Byrne would go on to produce much more polished work, with a stronger sense of composition and design than what is found in his original X-Men run.  As a writer, I won’t compare his collaborative X-Men work with his work as a writer-artist on Fantastic Four and on various Superman titles.  Indeed, he was really good on those, too.

I think of X-Men #1 to #66; #94 to #143 (the final Claremont-Byrne-Austin); and Giant-Sized X-Men #1 to be the core of X-Men “mythology.”  Everything that springs after these issues is not quite fan fiction, but much of it seems like a vain attempt to replicate the Claremont-Byrne blueprint.  I think the reason why “Days of Future Past” means so much to me is because it marked the end of an extended run of what I see as the best and the most important of the X-Men.

From the publication of the first issue of The X-Men to “Days of Future Past,” the title introduced startling new concepts, offered gripping narratives full of drama, melodrama, and soap opera, and sometimes presented visionary graphics, graphical elements, and graphical storytelling.  Pretty much everything since “Days of Future Past” has been a rehash, a copy, or a slavishly inspired remake.

A+

Reviewed by Leroy Douresseaux


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

Review: Advs. of Superman: José Luis García-López

ADVENTURES OF SUPERMAN JOSE LUIS GARCIA-LOPEZ
DC COMICS – @DCComics

WRITER: Gerry Conway, Elliot S. Maggin, David Michelinie, Denny O’Neil, Martin Pasko, Len Wein
PENCILS: José Luis García-López
INKS: José Luis García-López with Dan Adkins, Vince Colletta, Joe Giella, Dick Giordano, Steve Mitchell, Bob Oksner, Frank Springer
COLORS: Jerry Serpe, Adrienne Roy, Glynis Wein
LETTERS: Ben Oda, Clem Robins, Gaspar Saladino, Milt Snapinn
COVER: José Luis García-López and Dan Adkins
ISBN: 978-1-4012-3856-8; hardcover (April 2013)
360pp, Color, $39.99 U.S., $47.00 CAN

Superman created by Jerry Siegel and Joe Shuster

In Superman #347 (May 1980), Superman takes on an alien phantom whose antics are placing Metropolis and the surrounding region in danger of a nuclear disaster.  It is a nice story with a sad ending, but what is more memorable about this particular Superman comic book is the art for the story, penciled and inked by José Luis García-López.

On Pages 4 and 5 (of the story), García-López depicts Superman having dinner with Lois Lane at a rooftop restaurant.  As usual, García-López shows off his knowledge of human anatomy in the physique of Superman and in the lithe, athletic figure of Lois Lane.  However, on those two pages, García-López’s compositions conceive Metropolis Towers Restaurant’s settings, interiors, and backdrops with elegance and flair.  This comic book art looks like pages that could be from an architectural or interior design magazine.  It is simply a testament to García-López’s skill, and such an artist deserves a special showcase.

Earlier this year, DC Comics published Adventures of Superman: José Luis García-López.  This book is part of a line of hardcover, full-color books that collect the work of influential comic book artists on iconic DC Comics characters, in particular Superman and Batman.  Previous books in the series include Legends of the Dark Knight: Jim Aparo and Adventures of Superman: Gil Kane.

José Luis García-López was born in Spain in 1948 and eventually immigrated to Argentina with his parents.  He began his comic book career there at the age of 13 and also studied at Escuela Panamericana de Arte.  He broke into American comic books in the late 1960s with Charlton Comics and worked for the publisher into the early 1970s.  After moving to New York City in 1974, García-López met DC Comics editor Joe Orlando, and his first work for DC Comics began appearing in 1975.

Adventures of Superman: José Luis García-López reprints García-López’s work on the character for which he is arguably most associated, Superman.  Apparently, at one time, García-López’s Superman was used on all DC Comics merchandising.  Adventures of Superman: José Luis García-López reprints Superman stories from the following Superman publications:  Superman #294, 301-302, 307-309, 347; DC Comics Presents #1-4, 17, 20, 24, 31; and All-New Collector’s Edition #C-54 (Superman vs. Wonder Woman.)

The first time I really paid attention to José Luis García-López was when I found an issue of Amazing Heroes (the former Fantagraphics Books magazine that published news, features, and interviews about superhero comic books) that focused on him.  The article talked about his work on the comic book series, Atari Force (1984), and his then upcoming work on the hit 1980s New Teen Titans (Vol. 2, #7-11; 1985).  The article included images of García-López’s pencil art before it was inked.  I learned from the article that García-López was a master of figure drawing in comic books.

That is indeed true.  For the last 25 years, many comic book artists have presented the human figure by over-delineating musculature with cross-hatching and detailed line work.  That yields either unimaginative photo-realistic art or characters (especially male characters) in which every muscle is squeezed and pumped until the characters look like freakish bodybuilders.  García-López mastered the human figure through cartooning, expression, and abstraction.  The result is dynamic figure drawing that best captures the magic and wonder evoked by comic book characters, especially superheroes.

In splash and half-splash pages and with big panels, modern comic book artists can show off intricate pencils, detailed backgrounds, and figure drawing that catches every nook and cranny of the human form.  In this book, José Luis García-López, the master, shows off the proficiency of his ability to cartoon the human figure in even the smallest panels just as well as he can in double-page spreads, splash pages, and assorted big panels.

In the first six stories reprinted herein, García-López blends the page design style of Neal Adams with the aesthetics of Steve Ditko to create stylish page design cramped and dotted with panels.  Still, the physicality of Superman and guest-stars, such as Supergirl and Solomon Grundy, shines through everything.  Superman’s muscular form takes on the traits of dancer’s lithe body, as the Man of Steel flexes, fights, and flies from one panel to another.  Because García-López can pull this off, he creates a sense of movement in his pages, connecting not just each panel to another, but also each page to another.  Looking at the art, I thought I was watching a tiny Superman literally flying through the story and acting as the storytelling vehicle.

The masterstroke of Adventures of Superman: José Luis García-López is its reprint of All-New Collector’s Edition #C-54, a 1978, oversized comic book that pitted Superman and Wonder Woman against each other, before finally uniting to fight Axis evil.  The clean inks by Dan Adkins give García-López’s pencils a Neo-Classical quality, but retains the “New York slick” style that fits this World War II era story.

This book will also afford readers an opportunity to read stories written by a number of good comic book writers, especially the now underappreciated Gerry Conway.  His “Superman vs. Wonder Woman” tale is spectacular.  The feud between the two heroes and their eventual resolution makes sense within the context of the story and also corresponds with real world issues that still vex us today.

Somehow, my Bin boss was able to talk DC Comics into giving me a copy of Adventures of Superman: José Luis García-López.  I don’t owe them a good review for giving me this book, but I’m going to give them one anyway.  This archival presentation is the kind of book that a great comic book artist like José Luis García-López not only deserves, but has also earned.  It is also indicative of the usual high quality of DC Comics’ hardcover reprint books.

A+

Reviewed by Leroy Douresseaux


The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

I Reads You Review: WOLVERINE Volume 1

WOLVERINE VOL. 1
MARVEL COMICS – @Marvel

WRITER: Chris Claremont
PENCILS: Frank Miller
INKS: Josef Rubinstein
COLORS: Glynis Oliver (#1-3), Lynn Varley (#4)
LETTERS: Tom Orzechowski
COVER: Frank Miller with Lynn Varley
EDITOR: Louise Jones
REPRINT EDITOR: Ann Nocenti
ASSISTANT EDITOR: Terry Kavanagh
EDITOR-IN-CHIEF: Jim Shooter
ISBN: 0-87135-277-X; paperback (1987)
96pp, Colors, $4.95 U.S., $5.95 CAN

Wolverine received his first solo comic book in the form of a four-issue miniseries, entitled Wolverine, which was originally published from September to December 1982.  Written by Chris Claremont and penciled by Frank Miller, Wolverine tells the story of Logan/Wolverine’s mission to Japan to learn why the love of his life has rejected him.

For the last decade or so, readers have become used to trade paperbacks arriving shortly after the publication of the story arcs and miniseries that they collect – sometimes as soon as a month after a story arc or series conclusion.  Once upon a time, trade paperback collections were not common.  Wolverine, which collected the miniseries, Wolverine (Vol. 1 #1-4) was published almost five years after the original miniseries first appeared on newsstands and in comic book shops.  Even the indicia for the trade paperback was nothing more than the indicia for Wolverine #1 with a few changes to indicate new dates and prices, as well as the change in Marvel Comics’ ownership.

I suggest that before jumping into this series (and it is worth jumping into) that you read Chris Claremont’s introduction to you story.  That introduction appeared in the original version of the Wolverine trade paperback.  I must note that I am reviewing Wolverine from a 1987 first printing of the trade paperback.  I don’t know if the introduction has appeared in subsequent collected editions of the miniseries.  Claremont explains how he approached the story and why he used it as an opportunity to redefine Wolverine.

For a time, this book was a personal favorite, one I subjected to numerous readings, but I think it has been close to two decades since I last read it.  Reading it for the first time in a long time, I found that (1) I still love this story and (2) there is something about it that has been nagging at me.  After finishing my recent read, I figured out what that something is.  Chris Claremont and Frank Miller were working together to tell the same story, but they were telling it by using different genres.

First, the plot of the 1982 Wolverine miniseries:  Wolverine is spending time away from the X-Men in Canada.  He discovers that all the letters which he has been sending to Mariko Yashida, the Japanese woman he loves, have been returned unopened.  She does not respond to his telephone calls, nor will anyone connected to Mariko help him make contact with her.

Wolverine travels to Japan, where he discovers that Mariko has entered into an arranged marriage to Noburu Hideki.  This arrangement has something to do with a debt incurred by Mariko’s father, Shingen, Lord of Clan Yashida, whom Mariko once believed to be dead.  Wolverine confronts Shingen only to be easily bested in combat by the clan lord, and then, finds himself marked for death by The Hand, an organization of ninja assassins.  Wolverine’s only ally may be Yukio, a mysterious woman of questionable motivations, who is crazy in love with Wolverine.

Claremont states in the introduction that he and Miller “wanted to utterly, ruthlessly and seemingly irrevocably destroy” Wolverine.  They would use their story to make the character better.  Neither creator was interested in the Wolverine that, at the time, was so popular with readers.  That was Wolverine the “pint-sized, hell-raiser with a hair-trigger temper.”  Claremont wanted a character that was more complicated.  Why just play Wolverine as a “psycho-killer” and an animal when he could be a human who struggles with his killer/animal nature?

Claremont reveals in the introduction that he saw Wolverine as a “failed samurai.”  Thus, he wrote a story in which Wolverine struggles to attain pride, self-respect, and honor, while circumstances require him to be a berserk killer.  By exploring this conflict and struggle, Claremont uses character to drive the plot rather than have plot drive the character, which is what would happen if the story was simply about Wolverine killing his adversaries and other assorted people who want to kill him.  Basically, Claremont tells Wolverine’s story as a samurai drama with a side of existential crisis.

Meanwhile, Frank Miller tells Wolverine the character drama as a kind of crime thriller and martial arts ninja movie.  Miller’s popularity with comic book readers isn’t just because of the many unique and varied drawing styles that he has employed over the better part of forty years of drawing comic books.  Miller captures readers with his graphical storytelling – using graphics and illustrations that are connected to tell a story, but Miller does this in an especially visually arresting manner.

Miller has mastered design, not just in the way he presents pages, but also in the way he composes content within panels, connects one panel to another, and how he uses and manipulates space.  He uses the comics medium to suggest, to evoke, to prod, to provoke, and even to challenge his readers.  He goes beyond simply engaging imagination; he goes after the reader’s emotions, and that is what his pencil art does in Wolverine.  Miller tells this Wolverine character drama by visualizing the struggle between man/samurai and animal/killer with bracing depictions of battle, duels, violence, and tests of will.  Whereas Claremont uses dialogue and exposition, Miller uses visceral action.

What else can I say?  I loved going back and reading Wolverine in anticipation of the movie, The Wolverine.  This film is apparently based in part on Claremont and Miller’s seminal Wolverine miniseries, and the filmmakers could not have made a better choice.

A

Reviewed by Leroy Douresseaux