Power Man and Iron Fist #108

Power Man and Iron Fist #108, August 1984, Marvel Comics
writers: Archie Goodwin & Jim Owsley
artists: Greg LeRocque & Andy Mushynsky
letterer: Janice Chiang
colorist: Bob Sharen
editor: Denny O'Neil
EIC: Jim Shooter

Blogger's note: Entry for Thursday, February 7, 2008.

Power Man & Iron Fist #108 was one of the issues I brought to read in the long line outside of my polling place on Super Tuesday, and when I finally reached the door to vote, the check-in guy noticed its cover and commented, "Wow, that's an old comic book!"

I smiled and replied, "Well, old is a relative term. I mean, it was only published in 1984."

"That's twenty-four years ago, man!" he blurted, inadvertently involving other folks in line with our brief conversation. "Sounds pretty old to me!"

I chuckled him off and proceeded to vote, but I couldn't help but ponder our fleeting exchange. First of all, if twenty-four years is old, then I'm really old, what with some twenty-eight years under my belt. Further, though I didn't press the issue with the guy, who was really just being friendly, twenty-four years is not old in comic book terms -- at least, not in my opinion. Based on my understandably limited experience as a collector, issues preceding 1975 seem old to me, mainly because they're harder to come by. Unless one considers himself a "classic comics collector" and frequents specialty shops that stock Golden through Bronze Age titles, one usually won't find issues preceding the '80s in your average back issue bin, with the exception of highly coveted, collectible single issues, and even then these issues are often hung around the store like museum pieces, seemingly unavailable for purchase. I've squatted in front of quarter-issue long boxes aplenty, and while I've discovered gems like Power Man and Iron Fist #108, I've rarely stumbled onto a comic published before Watergate.

In fact, the only shop that stocked such issues in my area was in Whittier, California -- a hobby shop with an assortment of model cars and planes, as well -- and it closed before I could completely reap the benefits of its eclectic assortment. I scored a few Gold Key and Dell titles there, but they really only whetted my appetite for more. But I digress.

In Power Man and Iron Fist #108, a crazy mutant arsonist calling himself Firebolt is trying to cleanse Times Square of its immoral business, and Luke Cage and Daniel Rand step in to protect the legitimate, neighboring shopkeeps afraid for their lives and welfare. Beating the street to track Firebolt down, Power Man bumps into his psychic sister, who explains that her brother's mania comes from their uber-religious, abusive father -- a sympathetic origin that Cage could care less about when Firebolt almost drops Iron Fist to fiery demise. Unfortunately, Firebolt's powers consume him before his sister can redeem him, but Fist is saved in time to reveal that the molten maniac was being manipulated by a greedy real estate tycoon hoping to cash in on some insurance. Skating the edge of religious and sociopolitical themes, this issue is a meaty read that boasts its title characters' comraderee and offers a down to earth superhero adventure.

Although Luke Cage shares this title with the enigmatic Iron Fist, I'm including this issue in my string of Black History Month-oriented reviews because Power Man gets top billing, an impressive feat for any character that uses a chain for belt. I had a variety of Power Man and Iron Fist issues to choose from in that four-for-a-buck long box, but the simple Ron Wilson cover made this issue the pick of the litter, as it taught me that, despite their ethnic distinctiveness, Cage and Rand share an affinity for baring their chests, as their respective costumes seem void of any shirt fasteners above the belly button. Perhaps their outfits (and the 60 cent cover price -- meaning the average comic has risen in price 500% in twenty-four years!) are what led that polling place volunteer to date this issue, and I certainly couldn't blame him for that. Firebolt's zipatone eye lasers are a colorful, campy blast from the apparent past, as well.

Ultimately, the best part of this issue, and perhaps the whole series since Iron Fist jumped aboard Cage's title, is the natural friendship shared between the heroes. Theirs isn't a headliner/sidekick relationship, but each brings equal strengths -- and weaknesses -- to the table. To parallel this comic to the electoral process (don't tell me you didn't see that coming), they're a veritable superhero ticket, like running mates in their battles against evils big and small. If they were running on this "issue" alone, they'd have my vote -- and, based on simple first impressions, they seem to cover the experience pool, too. Yes, in that context, twenty-four years is a long time.

Rocket Raccoon #1

Rocket Raccoon #1, May 1985, Marvel Comics
creators: Bill Mantlo & Keith Giffen
writer: Bill Mantlo
penciller: Mike Mignola
inker: Al Gordon
colorist: Christie Scheele
letterer: Ken Bruzenak
editor: Carl Potts
EIC: Jim Shooter

Blogger's note: Entry for Sunday, January 27, 2008.

Raccoons have a bad rap. They’re just cursed from birth. That furry black “mask” around their eyes has doomed them to the stereotype of a criminal. I guess all of that rummaging around in trash cans doesn’t help, either . . . but a mask isn’t always an indication of evil. We geeks know that a mask can protect a superhero’s identity and their loved ones therein. Now we also know, thanks to Rocket Raccoon, that a raccoon can rise above prejudice and become an interstellar, laser-wielding champion.

Huh?

Yes, the image of a raccoon as an interstellar, laser-wielding champion was all I needed to purchase this issue at last year’s San Diego Comic Con. I hadn’t even seen the all-star list contributors yet, including a young Mike Mignola, whose characteristic style wasn’t apparent to me on a cover featuring all animal characters. (Uh, pay no attention to that “MM” in the corner . . .!) Indeed, based on editor Carl Potts’ back page introduction -- appropriately titled, “All Right . . . Who’s Responsible for All This?!” -- Rocket Raccoon’s fantastic world inspired some of comics’ best talents, including Bill Sienkiewicz’s caricatures of the creative crew. Rocket Raccoon was the brainchild of Bill Mantlo, who’s also responsible for my favorite Marvel underdogs Cloak and Dagger, and the little guy first appeared in Marvel Fanfare #10 followed by a guest-starring role in Hulk. Those two appearances obviously sparked all of the interest Rocket needed to earn his own four-issue miniseries.

This first issue introduces Rocket’s native sector of space, the Keystone Quadrant, and his home planet Halfworld. When the snake lord Dyvyne’s toysmith is murdered by his competitor’s trademarked robotic clowns, the tongue-smelling tyrant enlists Rocket Raccoon to bring Judson Jakes to justice. Rocket’s girlfriend Lylla is the rightful heir to Jakes’ Mayhem Mekaniks, and while the raccoon is doing Dyvyne’s dirty work, that slippery serpent has planned to wed his woman behind his back, inheriting his competitor’s company. Obviously, Rocket’s paws are full, but on top of this corporate conspiracy, Mantlo infuses an ethereal subplot about the Quadrant’s spiritual existence. Apparently, these alien animals exist to humor their seemingly insane human neighbors, but these toy companies wish to spin a profit from this entertainment. The thought repulses Rocket Raccoon, which inspires themes about servitude, selflessness, and greed.

Apparently, this superheroic raccoon was hiding much more than his identity behind that God given mask. Rocket Raccoon boasts subtexts I wouldn’t have expected from what otherwise looks like a cosmic fairytale. Indeed, for this, the beginning of week-long series of animal-oriented comics, my theory holds true: that character remains the most important element in an introductory issue, especially if that protagonist bucks stereotypes and exceeds expectations.

Supplemental: Click here to see the beginning of my Man-Cave expose, categorizing the stuff in my cocoon of geekdom!