Writer: Greg Pak
Illustrator: Emma Rios
Additional Inks: Alvaro Lopez
Color Artist: Jordie Bellaire
Letterer: VC’s Clayton Cowles
Cover Artist: Julian
Totina Tedesco
Editor: Ellie Pyle
Consulting Editors: Alejandro Arbona & John Denning
Executive Editor: Tom Brevoort
125 PAGES
Hardcover
$24.99
DOCTOR STRANGE: SEASON ONE
AN IN-DEPTH REVIEW
---------- THE INTRODUCTION ----------
Wednesday, September 12th, 2012 brought with it
the long-awaited, eagerly-anticipated release of DOCTOR STRANGE: SEASON ONE by
writer Greg Pak and illustrator Emma Rios (as well as the other members of the
creative team, listed above).
Here’s how it is described in the solicitation text (which
also happens to be the back-cover blurb):
“A window-crashing, high-flying, globe-traveling, ghost-battling
adventure from the earliest days of Doctor Strange’s training in the mystic
arts! Part Indiana Jones, part Lord of the Rings, thrill to this new tale of
how a selfish, arrogant surgeon collided with a hot-headed martial artist to
become the greatest team the mystic arts have ever seen! If only they can stop
hitting each other and figure out how all this magic stuff works anyway.”
That sets up some pretty heady stuff and lofty goal for the
creative team of Greg Pak and Emma Rios; both of whom have shared their talents
on previously told exploits of Doctor Strange. Writer Greg Pak frequently used
the good Doctor in his work on the ‘INCREDIBLE HULK(S)’ title, and artist Emma
Rios having last delineated a Doctor Strange mini-series, entitled ‘STRANGE’
(vol.2), written by veteran writer Mark Waid. Thus readers can have a fairly
clear idea of just what is going to be presented (at least as far as quality)
in the pages of this original graphic novel. Depending on your opinions based
upon experiencing those past works, this creative team-up could either be a
good thing – or not.
Behind a majestic cover, painted by Julian Totina Tedesco,
Greg Pak sets out to weave a tale showcasing a heretofore unknown, untold story
of the formative early days/months of Doctor Stephen Strange’s tutelage
in the mystic arts at the Tibetan lamasery of the Ancient One.
Such a timeframe has long been territory left untrodden by
generations of previous Marvel writers – which always struck me as “strange”
(no pun intended). Within that time, we have a period of great learning of new
wisdom and shedding of old beliefs. A time of great supplication and the rising
and advancing of the spirit. A time when all that the selfish, avaricious
Doctor Stephen Strange; the man, who once was, would be shed to be replaced by
all that Doctor Strange; the mystic, will become. Few and far between are the glimpses into
this time of formative experience for the Master of the Mystic Arts.
Thus it is that Greg Pak seeks to be one of the few to
leave his footprints in those rarely traveled snowy peaks.
---------A BRIEF SUMMATION & CAVEATS---------
Just as a head’s-up, this is to be less a typical “review”
and more an examination (a dissection), as I go into the full depth of this
work. As followers of this blog may know, my “reviews” tend to be much deeper
than the norm. This review is less for those looking to determine IF they
should purchase this book than for those who have already bought it, read it
and wish to see if their experience is shared – or who are looking for greater
context (or those who may not yet have read it, don’t mind the spoilers and just
like to read my take on things).
To me, the most important demographic
that can read my review would be for those who may never have read the origin
of Doctor Strange, this perhaps being their first foray into the early life of
the character, and thus, my in-depth cross-analysis with other, similar,
previously told versions can help them determine what has been added, changed, retconned
or enhanced in this new novel.
If you simply wish to know IF you should buy the book, I
will simply state, that I am sure there are other, more traditional reviews, on
both sides of the spectrum, which may shed light on the work. Still, in my
opinion, if you are simply looking to
read the origin tale of Doctor Strange, you could do no better than the
original 8-page Stan Lee / Steve Ditko story from ‘STRANGE TALES’ # 115 (or
obviously, any reprint of same). Of course, you could also read my personal
favorite: ‘DOCTOR STRANGE’ (vol. 1) # 169 (which was really # 1, since the
original Strange Tales ended with # 168, and the title continued, renamed after
its then-rising star) by Roy Thomas and Dan Adkins, and/or issue # 56 of
‘DOCTOR STRANGE: MASTER OF THE MYSTIC ARTS’ by Roger Stern and Paul Smith,
which is often the most reprinted version of the origin tale (with the possible
exception of the very first). Those are THE best of the many tellings of the
origin story.
However, since this graphic novel only briefly deals with
the origin and soon delineates a story of “what came next”, if perhaps, you are
interested in reading stories of those “early days” of Strange’s training in
Tibet, then aside from this work there are, sadly, few other resources (but I do
list them elsewhere in this review).
Still, and all, while this work is entertaining as all heck, fast-paced, exciting, with some good laughs, delivering on ALL promises in the promotional blurb, and has many excellent points of merit, I find it little more than an oversized
(and overpriced) issue of “WHAT IF?”, that could have been - should have
been – better.
I know... if it was so good, how can I say it should have been better?
Well, it was good as a stand-alone work, not tied to the history (past or future) of published Doctor Strange "canon".
To me, Greg Pak's "DOCTOR STRANGE: SEASON ONE" seems to be an attempt at
a movie-script-friendly modern origin update.
Thus, I can only truly recommend it for the die-hard Doctor
Strange completeists, and/or fans of Greg Pak and/or Emma Rios – or those who
are more open to major change / retcons in their classic tales. Although, and I
feel that I truly SHOULD make this known: as far afield as some of these
changes are, MOST (but not all) of them can fit into the current canon (or at
least be made to fit, with a little forgiving and tweaking of
previously published canonical reference).
That said, if you wish to know WHY I think the way that I
do, then read on – HOWEVER - I will begin this review to IMMEDIATELY STATE that
there are SPOILERS APLENTY!
I give away much of what happens, as I examine this work in some
great detail. ALSO, I am reviewing this work not only as it stands on its own,
but also how it compares and contrasts to other works that deal with this
time-frame in the tale of Doctor Strange; his origins and early steps into
magic. For while this original graphic novel is partially just that; an
original story, it also serves in many ways to retell (or more accurately, re-imagine)
the classic origin tale, and as a reinterpretation (like a remake of a film)
the review must look at the original work upon which this exploration is based.
The review is broken-down into sub-categories:
-
THE REVIEW: PART THE FIRST: “THE ORIGIN”
-
THE REVIEW: PART THE SECOND : “WHAT CAME NEXT”
-
THE WRITING
-
THE ARTWORK
-
FINAL THOUGHTS
Of course, as is obvious, all opinions are merely as I see them. Opinions and tastes differ.
Also, as I order my comics from an online discount resource (Discount Comic Book Service - since there are no local shoppes in my area), my physical copy has yet to arrive. Thus, I am reviewing this work based upon the digital download code that a friend gave to me from their own physical copy.
Ready? Then let’s get on with the review of this adventure!
--------- THE REVIEW ---------
PART THE FIRST: “THE ORIGIN”
In the original tales of Strange, told in the pages of
STRANGE TALES (vol. 1), by Stan Lee and Steve Ditko, Strange is nearly
immediately portrayed as a competent mystic; no learning curve being shown. For one story, his origin tale (told several issues
after his introduction), we are given the all-too brief look at Strange’s fall
from grace and the first formative steps to his rise to greatness. In 8 pages,
Lee and Ditko told an origin tale that carried with it the weight of more than even
a full issue. The economy of craft (and limitations of space) hindered not the
abilities of those two icons to produce something that has lasted the test of
time – one of the all-time greatest origin stories ever imagined for a Marvel
comics character (if not ANY character in the history of publication). They
crafted an origin tale of great highs, deepest lows, the path of personal
growth – and redemption. Still, they left ample room for others to come in and
expand the story.
This is what is attempted in the pages of this book. It
succeeds in many places, and in others… does not.
Greg Pak starts the story with Strange about to enter the
Lamasery – his long, tiresome journey already a fait accompli. This is a shame,
as the journey has yet to be told, in depth, by any writer, and remains
unexplored. A literal and literary terra incognita.
There have been a few glimpses into the trek as written in
other, earlier works: first undertaken in ‘DOCTOR STRANGE’ (vol. 1) # 169 by
Roy Thomas and Dan Adkins, Strange’s journey, by plane and then on foot, is
beautifully – yet all-to-briefly – illustrated. The journey next explored in
the original graphic novel; DOCTOR STRANGE: INTO SHAMBALLA by J.M. DeMatties
and Dan Green, Strange is shown walking the last leg of the journey – again -
with scenes shifting from his then-current time, with Strange by then already
Sorcerer Supreme – as well as the original, fateful trek, shown in flashback.
Next we were given a brief account, in the pages of STRANGE TALES (vol.2) # 5
& 6, by Peter B. Gillis (in dialogue between Strange and his former Sherpa)
of the broken-down Stephen Strange’s original sojourn thru the Himalayan
mountaintops, as well as a renewed passage of the peaks. J.M. DeMatties revisted the journey (while
also mentioning the SHAMBALLA work) in DOCTOR STRANGE: SORCERER SUPREME # 84). Interestingly
enough, probably the most intensive foray into that aspect of the story took
place in J. Michael Straczynski’s ‘STRANGE’ (vol. 1), which, like this new
story, sought to re-work Doctor Strange’s origin for a more “modern” audience (as it was originally penned as a movie-treatment).
It failed, and was immediately rendered out of canon - into an alternate
universe tale – and thus, out of our consideration, like several other origin
re-imaginings.
You may wish to remember that particular point for later.
Still, with those other brief looks into the journey, (ironically,
with the sole exception being the JMS ‘STRANGE’) we are never really given a
glimpse into the villages and people that lay below the mountaintop retreat.
Here, Greg Pak at least touches briefly upon the matter (as much as Peter B. Gillis
before him), by showing Strange enter a tavern somewhere in the village below -
or at least he will – further on in the book.
However, here at the start, Strange is about to take his
first steps into his destiny.
His first words at seeing the Temple: “What a Dump.”
Thus, Greg Pak returns us to the days and mindset of the
arrogant Stephen Strange, a man used to the finer things in life. For a man who
has always seen great rewards for his labors, no doubt he is unimpressed by the
humble, unadorned edifice that has been the goal of his long and torturous
physical endeavor.
The interior of the temple is another matter, as immediately,
Emma Rios begins to gift us with a sense of atmosphere, showing gossamer thin,
wispy, wafting fabrics, carried to and fro by the obvious chill drafts that
permeate the finely detailed and ornamented ancient Himalayan retreat.
When we first see Stephen Strange, he looks like some old-world
explorer, with sideways-sweeping, winged mustache and choppy-looking beard.
Rios’ costuming choices for the journeying Stephen Strange are quite good,
authentic (and almost exactly as drawn by Steve Ditko in the original): fur-rimmed
parka and baggy pants tucked into insulated hiking boots. Only the curious
choice of a wide-rimmed fedora style hat seems incongruous (both in Ditko’s
version as well as now), as surely the winds that would whip around the snowy
peaks would blow that sort of hat off one’s head in short order. Sadly, with
Rios’ unrefined inking style, the hat (along with the overall depiction of
Stephen Strange) only lends itself more to the old world explorer (Spaniard or
Frenchman… or Dutchman for that matter) as if a portrait rendered by an
old-world artist utilizing an unrefined technique.
Immediately Pak and Rios deviate somewhat from the classic
Lee / Ditko origin tale in several ways of ever-differing levels of seriousness.
First by having Strange try to bribe the Ancient master with
cash (or credit card “if you’re set up for that”), as opposed to every other
incarnation of the tale wherein Strange had to sell or pawn off the last of his
possessions with which to make the trip, here Strange seems like he’s still
fairly liquid. He’s not as completely destitute as in other versions. For good
or ill, this might allow him to retain a level of cockiness and arrogance that
the earlier versions had nearly tempered out of him.
Next, Strange states that his hands have been
crushed, when in the original his hands had merely suffered
nerve damage, with no outer harm. I can see nothing to be gained by this
alteration of events. Interesting, that Pak also crushes Strange’s hands in his
earlier work, “World War Hulk” (in a bit of “made-no-sense” new interpretation
of rules for astral form interaction).
Also different, the choice made to NOT have the Ancient One
levitate the arrogant westerner, while mystically examining his spirit. Here,
the Ancient One is portrayed less as a stoic, sedimentary living statue and
more as a walking, humorous and somewhat eccentric curiosity. The loss of this
simple act has more weight than you might well imagine, as I’ll detail soon
enough.
Also changed, that in the original, once Strange decides
that the Ancient One is a fraud, his desire to depart the temple was halted
only by the onset of a freak snowstorm. Created as if by… magic. Here, the
storm is apparently already transpiring (even though the artwork doesn’t quite
show that to be the case). Strange is merely told to stay a few days – and he
does – in defeat, as opposed to the original where he has no choice despite his
protestations. Here, Strange is cowed, dejected somewhat. What is odd here, is
that while Strange seems to have more still left in reserve (as shown in the
bribery scene) he has less overall determination than shown in the original
tale, where he was totally down-on-his-luck and frustratingly grasping for any
lifeline that could anchor him to his former life. As this line of thought is
not pursued in this version, it turns out to be just a weird observation by
myself (but one that continues to demonstrate – perhaps subconsciously -
wherein Marvel renders Stephen Strange as being portrayed
lesser than he once was.)
Although truthfully, if I were in his penniless, well
snow-peaked-mountain trod shoes, I’d also be less inclined to simply storm off
and turn back to an unknown future.
I might need to pause here and point out a possible coloring
error, as it is one that could be confusing to the story. When Stephen is
showing his hands to the Ancient One for the first time, they appear to be
glowing – as they are haloed by a pale yellow. Perhaps, as in later scenes, there
were squiggly lines which the colorist may have mistakenly taken to mean
“glowing with power”, which were really to portray nerve-damaged shaking. This
is evident, as in the next scene where Strange is trying, in vain, to open a
can of foodstuffs, and is unable to manipulate the can-opener (resorting to
then smashing the can against the countertop repeatedly. A nice, comical touch,
presumably written in by Greg Pak). I will speak more of the coloring in this
work near the end when I also examine the artwork as a whole.
However, speaking of Strange’s hands, Rios draws them as
being deeply lined with scars with obvious signs of surgical stitching from
operations intended to heal his damaged hands. This makes more sense here than
it did in the universally-acclaimed mini-series; ‘THE OATH’, by Brian K.
Vaughan and Marcos Martin. In that earlier piece, the scars are used as a
shocking story’s-end reveal, but being that the events therein took place so
many years after Strange’s accident, made little sense to be so evident. Here,
in this story, the wounds are fresh, the scars still new, and they can be
easily accepted - even welcomed - by this reader.
While this Lamasery is home to the Ancient One, within
established canonical record it is also inhabited by at least one acolyte, (Hamir
the Hermit – the father to Wong,) although, usually more than one have been
seen, who serve as caretakers of their ancient master and the temple where they
meditate and study. Here, no acolytes or even other students, save for Baron
Mordo, are shown to be present. Maybe they are in other parts of the building,
and are not seen during our “visit”. Since this is such a minor thing, I’ll
give the benefit of the doubt and say that they are. There is a valid reason
why I am pointing out something so trivial. You’ll find out soon enough when Wong
enters the story.
Baron Mordo, who at the time of Strange’s arrival is already
a pupil of the Ancient One, has succumbed to the “dark side” of magic, and is
still represented very close to his early canonical appearances. Older, more
driven to use magic to garner power to himself, Mordo replays his earliest Lee
/ Ditko tale as trying to use the power granted by the other-dimensional
warlord, Dormammu, to slay the Ancient One, and thus take his power and place.
In the original tale Strange stumbles upon Mordo’s treachery
and finds himself concerned for the wizened master. In this new version, Mordo
himself, mistaking Strange’s selfishness for dark strength tries to take
Strange under his wing and shows him what he is up to. This
is an interesting twist. It shows Mordo as feeling more secure in his vile ways
than the cravenly, secrecy-coveting version in Strange Tales of old.
Unfortunately, with the usage of the mystical mouth-clamp –
which makes it impossible for Stephen to warn the Ancient One to Mordo’s
machinations (of which are also examples of Mordo’s magic to which Strange is
witness) – it is Mordo’s magic which Strange first feels and not the more
gentle probing of the Ancient One. Strange is first introduced to dark magic,
with no reference of good magic with which to counterbalance. A seemingly minor
alteration, but a strong one, as to the uninitiated Strange, he might not know
that there IS a difference, but may merely believe magic can be used for good
and/or evil.
Perhaps this is why later, when Strange sees the name of
Dormammu in the Book of the Vishanti, he speaks the name with little heed to
its consequences. (Note: even in the earliest Stan Lee-penned Strange Tales,
Doc used to call on Dormammu every now and then (heck, even the Ancient One did
so). Lee hadn’t nailed down the finer workings of good and evil entities at the
time.)
Also within this sequence of magical treachery and discovery,
we see a huge diversion from the original. In the original Lee/Ditko joint,
Strange struggles to warn the Ancient One of Mordo’s plot, but due to the
invisible magic clamp can not do so. He struggles and realizes that he can
speak of OTHER things, just not Mordo. It is thus, that he first foregoes his
selfishness and begs to study at the feet of the Ancient One – to protect him,
and the world – from Mordo. Here, in this new version, Strange’s acceptance of
the offer is seemingly for the same reason, but without much of the weighty context
of the original story, and for those who may never have read the original that
point might be lost. This is, unfortunately, due to passing out of vogue the use
of “thought bubbles” which could show the inner struggle that Strange underwent
in the original tale. Here, Strange simply adds the addendum; “So I can help
you FIGHT”, (which removes all the inner conflict of the original).
I feel I should also point out that when the Ancient One
accepted Strange’s offer of discipleship in the original tale, the Ancient One
conveyed his acceptance with much more spiritual balance (and/or a perhaps
clichéd or perceived stereotypical manner as a “wise Asian mystic”) than Greg
Pak’s new version of the Ancient One, who retorts with the inane; “No
takesy-backsies”. This may be to better “humanize” the Ancient One who in tales
of old had oft been portrayed as more removed (or at least stoic) to the others
around him, but to me this simply reduces the overall (suggested) greatness of
the learned master into someone that Strange aptly surmises is; “…really
weird.” However, even this “weird” type of personality is immediately dropped
and never pursued again, so I wonder… what was the point? If Pak was hoping to
bring the Ancient One more “down-to-Earth” then why only the one cutesy
statement?
One last point on the origin, before we move on to “what
came next”, and that is the departure of Mordo. In the original telling of
Strange’s origin, after the Ancient One removes the mystic restraints that
Strange placed upon Stephen, there is no suggestion that Mordo discovered that
the Ancient One knew of Mordo’s deception and role in the mystic attack upon
the aged master. It wasn’t until ‘Doctor Strange’ # 56 that Roger Stern
detailed that Mordo stayed on, under the watchful eye of the Ancient One
(better to keep a known evil where one can monitor it). Then it was not until
an envious Mordo challenged Strange to a magic duel, which ended with Strange
the victor, that Mordo departed the lamasery in shame. Here, in Pak’s
rendition, Mordo departs immediately after his attack on the Ancient One is
foiled, and Strange has made his bid for discipleship. A simpler, neater chain
of events? Perhaps. Pak certainly gives information that the Stan Lee / Steve
Ditko origin did not. A forgotten plot point (or open for later telling?) that
Pak quietly wraps up. However, I confess to liking Stern’s later interpretation
even if Pak’s does make more sense. Either way, to help keep this tale in
canon, one could suppose that the upcoming battle between
Strange and Mordo in the rest of this original graphic novel
could be seen as being the battle that Stern first mentions.
--------- THE REVIEW ---------
PART THE SECOND: “WHAT CAME NEXT”
As many fans already know the origin of Doctor Strange, this
new work only truly gets started once the formality of retelling of that
chapter is complete and Strange begins “what came next”.
Jumping two months ahead, we see Strange in a small, dark
chamber within the Ancient One’s retreat, attempting to learn his first spell;
a flame conjuration. The truly odd thing about it is that the entities
entreated to summon the flame is not the Faltine (as in the oft-summoned: “the
flames of the Faltine”) but instead the trinity of the Vishanti themselves.
Perhaps their blessing is required for any pupil of white magic, but it does
seem a bit of overkill; like if you lost your keys and you were asking God to open
your locked door when a call to a locksmith would do. But I digress.
After months of unsuccessful attempts at this first (and
assumedly basic, entry level) spell, Strange, in disgust, simply lights a
match. (An ironic thing, as he was unsuccessful at even that mundane task,
instead having his matches snap in half, when he first entered the lamasery.)
Immediately afterwards, in a particularly hard-to-discern
panel, the Ancient One seems to blast the former surgeon through the window and
into the mountain snow. Not sure why. Tough love, perhaps? Either way, it seems
that according to the Ancient One, the Vishanti have rejected Strange as
unworthy – his desires clouded, his faith unclear.
After this altercation, Strange leaves to go to the village
below (still carrying the Book of the Vishanti) and heads into a bar.
I want to THANK Greg Pak for sidestepping the
all-to-frequently mistaken memes of having Strange be either a “Chosen One” or some
kind of alcoholic, as those are simply wrong-minded directions to follow. This is as I discussed in parts 1 and 2 of my FINGERS OF DEATH FOR
DOCTOR STRANGE series [PART 1: “chosen one” HERE] [PART 2: “alcoholic” HERE], [Intro
to the Series HERE].
Still, while Strange is trying to work out his frustrations
with a drink, he still has the discipline to ask the tavern keeper for a
candle, with which he can continue his practice. A beautiful touch by Pak.
Still, Pak’s Stephen Strange seems, at the onset, to be wavering
between his pledge to the Ancient One and his desire to simply find the cure
for his hands and go. Thus, when he sees the name of Dormammu in the book, the
name obviously remembered from the power-play with Mordo, he speaks the name
aloud and all the lights in the bar go out… but his candle begins to
glow! POWER! MAGIC!
But also aglow, are Strange’s eyes… red. Thus, one direction
that the story could go would be for Strange to be tempted by this dark power,
but he never has the chance as at that moment Wong bursts through the door.
Upon realizing the name that has been uttered, Wong attacks
Strange and accuses him of being Mordo.
It is here that I remind everyone of my point very early on
in the review wherein I pondered at why there were no other acolytes or
students shown in the temple. For here Wong states that he has studied all his
life in the mystic arts of Kamar-Taj to protect the Sorcerer Supreme - but he
doesn’t know that Strange is not Mordo. Thus, are all the students kept
separate and anonymous from each other? The retreat is vast, so it could be
possible. Sadly, it is not really explained.
Either way, the two mystic students begin to pummel each
other until the intervention of the Ancient One who punishes them by decreeing
that they train…together.
The inclusion of mystic study in with Wong's duties as
protector of the Sorcerer Supreme has never been one ever shown (or even
mentioned) in any other Doctor Strange story before. It wasn’t really until the
fairly recent ‘THE OATH’ by Brian K. Vaughan, or ‘NEW AVENGERS’ by Brian
Michael Bendis that Wong’s even being a pupil of Doctor Strange had ever been
mentioned.
So as not to basically give a blow-by-blow reading of the
work, I’ll now jump to a few different, yet vitally important, points within
the story.
While Greg Pak managed to avoid the clichéd (and
wrong-minded) memes of having Strange be either a “chosen one” or an alcoholic,
he falls squarely into the trap of trying to make this a modern tale – and thus
ignores the fact that Doctor Stephen Strange’s origin should take place in the
1950’s-1960’s. As I’ve mentioned ad nauseum in other posts, according to
Marvel’s own Official Handbooks, Stephen Strange was born in 1930.
For a better timeline, feel free to read my summation which can be found in
Part 3 of the FINGERS OF DEATH series [HERE].
Pak transgresses this point in three ways: Once by an
off-hand remark by Strange wherein he asks if a mystic device (a magic map) “gets
email”, the second by having the characters communicate to each other by
cell-phone, and the third by the inclusion of his pet character; Sofia Di
Cosimo (of Il Museo Della Mitologia Antica, Rome – which she states every time
she says her name) – a modern character (who was previously seen – albeit later
in history – in the pages of ‘INCREDIBLE HULK(S) ). Thus, unless Sofia is, by
some untold story, a long-lived person somewhat outside of the passage of time,
this tale is set in the very present day. And while cell phones and email have
been available to the general public for several decades, the availability of
tablets (which the mystic map resembles) and/or other devices which can receive
email have only been on the market for only about 5 years. Thus, this origin
can’t even be at the “10 years ago” point of Marvel’s sliding timeline. The
Fantastic Four have been given the status of the 10-year mark (by which nearly
all the Marvel Universe is measured) and it has been long accepted that Doctor
Strange’s origin predates the FF’s by several decades (Strange having
finished his mystic studies and returning to America when a
newly scarred, college-age Doctor Doom was still searching the far east for the
monks who would help him forge his mask and armor.) With one vanity project
(Sofia), a casual usage of very modern technology and a seemingly innocent line
(a joke for the sake of being “with it”), Greg Pak truly screws the pooch of
Doc’s history.
Pak’s “pet” is present to initiate a quest for the story’s
maguffins; a trio of long-lost magic rings that allow the wearer to command the
Vishanti – despite the wearer’s worthiness. Convenient, huh? A seemingly
unworthy Stephen Strange can’t seem to command the Vishanti to empower his
spell (and he also can’t seem to get his hands fixed). Well… here ya go!
Ugh.
Also of all-too convenient coincidence is that there are 3
Vishanti, 3 Rings, and the 3 protagonists to quest for them. In fact, each ring
is acquired - one-for-each – by each member of this impromptu, ersatz team by
the usage of their particular strengths: Strange’s medical background, Wong’s
audacity and Di Cosimo’s ties to her museum.
Team-building via design…er…serendipity.
To make sure readers fully grok how cool it is to have a
‘Lord of the Rings’ riff going on, Sofia Di Cosimo, who acts as “ring-bearer”
for much of the story, is referred to as their “Hobbit”. Also, in one scene, a
power-hungry Strange has his own Gollum moment as he glares at the rings
hanging around her neck, hissing his “S’es”, his eyes again glowing red with
evil intent. Yes. Yes. We get it. They’re rings of power and he is tempted.
Sadly, this obvious LotR “homage” was probably an important
selling point of the story to Marvel editors. It is believed by today’s
standards to be “kool” to reference pop-culture, and it makes a new project
more palatable if it is comparable to something popular that already exists
(exactly as JMS’ ‘STRANGE’ was a heavy-handed riff on THE MATRIX).
As an aside, it strikes me that many of these new
“retellings” of classic origins are really just R&D enterprises by which to
use as compost for the new Marvel Hollywood money-tree of which Disney/Marvel
is now seemingly but an I.P. greenhouse.
Without giving everything away, Strange
does manage to summon the Vishanti – a situation of which I can not express the
magnitude of “wrongness” (despite their awesome visual stage-entrance as drawn
by Emma Rios – although she is only redrawing their classic incarnations, it is
very well done).
The Vishanti first appeared to Doctor
Strange in the pages of ‘MARVEL PREMIER’ # 5. The second
time he saw them, in the classic ‘DOCTOR STRANGE / DR. DOOM: TRIUMPH &
TORMENT’, Strange states that he had only seen such energies manifest “once
before” – thus alluding to the Marvel Premier story. Of course, just to play ‘Devil’s
Advocate’ for Greg Pak, we can assume that perhaps, in THIS instance, the
Vishanti did not coalesce in the same energy glow that Strange found so
singular. Thus his statement in Triumph & Torment could be seen as
technically true and accurate.
However, such a
summoning in this story, within two months of Strange’s
entering the Ancient One’s tutelage, just seems infinitely wrong to my
sensibilities. There was no effort to achieve this. Strange has no pedigree at
this point. To be able, in essence, to not only see the face
of “God”, but also make commands of same with no study or sacrifice, is like
winning the inter-dimensional cosmic lottery. The odds against it are so
immeasurable, and the prize far, far too immense. It’s an iteration of exactly
what is wrong with today’s culture. Instant gratification. Immediate fame. Think
of the “American Idol” phenomenon, wherein people, some who have never truly
“earned” it, are suddenly, overnight, granted fame and fortune. Now, take that
to a universal scale. If Doctor Strange’s origin and apprenticeship into the
mystic arts is to mean anything, then such a feat has to be
earned, else he’s little more than “Harry Potter”, destined
greatness, or Charlie of the “Willy Wonka” tale, winning the ultimate “golden
ticket” (to use two more pop-culture references).
It also lessens every other meeting with other-dimensional
entities that Strange would go on to meet in the many, many stories which had
been told. For if Strange saw the Vishanti, when he was but a novice, then how
impressive can meeting any other entity truly be? Gone is all (or most) sense
of future wonder.
The story of the quest for the rings does, at least, have
some interesting turns, and at least one excellent character-growth moment for
Doctor Strange, in which he, while aiding a fellow doctor in a foreign land,
almost tenderly forsakes his selfish, arrogant ways for a renewal of his
potential early motives as selfless healer. To help. To heal. To do good.
Bravo to Greg Pak for this sequence, and to Emma Rios who
sublimely shows the subtle change in Strange.
As the adventure unfolds, and the need for magic-usage
increases, it is certainly odd that Strange, who has seemingly only attempted
one spell (and has been trying to use it in even the most
nonsensical situations) suddenly pulls new ones out of his head. It seems that
if it rhymes, it’s a valid spell. It could be understood that if the
Vishanti-flame spell was a “graduation” spell of sorts, and that Strange had
passed many other, lesser challenges, then he would have a decent array of
spells to choose from in these later instances. However, it had been fairly
obviously stated that he was only beginning his studies and the Vishanti-flame
spell was lesson 101, so these new off-the-cuff spell castings are more “writer
needs a way out”. It might have made more sense to have Wong recite the spells
for Strange to cast, since Wong had been studying the magicks since he was a
child. His studies had yet to be successful, but he would know more than
Strange. However, Wong is given the role of “kung-fu fighter” in this story,
with only minor mystic abilities, despite his years of study.
There are some strange and interesting divergences from the
historical portrayal of the use of magic of the Marvel Universe which Dr.
Strange has ever partaken. However, for Strange to use some of them here, at
the onset of his studies, would make it seem truly odd that he never again
sought to tap those long-dormant sources. Such is Strange’s calling upon the
gods of Greek and other pantheons. Again, if this were a modern tale, and not
an “origin-era” story, this would be PERFECT, and would set up Strange to
access newer sources for magical energies.
Sadly, Greg Pak set up far too many drastic changes to the
characterizations and histories of Strange and Wong. Perhaps that is why the “final
battle” with Mordo later in the story, seeming ever so much more wrong than
Strange’s summoning/commanding of the Vishanti is when Wong does so. I won’t say anything more about it, because while a fabulous piece for
inclusion in the annals of “WHAT IF?” (aka: “official fan-fiction”), it has no business
being considered for inclusion of canon, or for this story as a whole to be
anything that will ever be accepted as more than a fun alternate-universe tale.
Still, the pacing of the story is break-neck, and the action
is dynamic! All that the solicit blurb text promises is delivered! If you care
not that significant portions of canon are either changed, ignored, or “fan-fictioned”,
and are not a die-hard Doctor Strange “historian”, or if you are simply looking
for an exciting tale, then this will undoubtedly be a must-read! Part action-thriller,
part buddy-cop comedy, and all ghost-busting, Indiana Jones style adventure!
---------THE WRITING---------
Obviously, much of my critique of the writing can be found
in the body of this review. Still, there are some finer points that I can call
attention to here. First off, Greg Pak is a writer whose work I appreciate. I
won’t state that he is without flaw in his prior handlings of Strange, but at
least he has tried to do right by the good Doctor. It is obvious that Pak has affection
for the character, and that does shine through.
Thus, I am fairly sure that none of the slights, slip-ups
and/or “wrong-turns” (at least as perceived by this reader) presented in this
work (or his other, earlier handlings) are meant maliciously – or are intended
to be means to “take Strange down a peg”. In fact, it seems that despite some
contrary steps, Greg Pak is trying to elevate Doctor Strange to a much more
dynamic level of high-adventure. (As long as Pak steers clear of making Doctor
Strange a “super-hero” – which has been Marvel’s main problem in their handling
of Doctor Strange – then he’s one step closer to doing it right.)
However, as you could tell from my review of this work, all
was obviously not what I would consider to be “right”.
This is besides the fact that Doctor Strange’s origin needed
no tweaking, updating or renewed interpretations – as it is one of the
cleanest, clearest and universal origin stories ever told (a tale of growth and
redemption). Pak (perhaps at Marvel’s behest) simply mucks around with the
story for no reason that I can identify.
One nit which I feel I must pick at is Doc’s overall
speech-pattern. It seems that nearly every page has Doc saying; “Dammit!”(8
instances), “What the hell?” (7 instances), “Stupid.” (4 instances), “Whoa.” (5
instances), a bunch of “Ack!”s , “Hey,
wow”’s, a “whatever” or two and even an “oy”.
Nearly every word out of Wong’s mouth is “Shut up!”
(although, oddly, as soon as Strange stops saying Dammit that is when Wong starts.)
Hardly, eloquent for either a world-class, highly educated,
high-class Surgeon or a monk-initiate.
That’s still not the worst of it. When the Vishanti first
appear (and this is really GOD-appearing-to-mere-mortals-LEVEL stuff here),
Greg Pak has Doctor Strange say; “uh…hi.”
In speaking of the Vishanti and the 3-ring maguffin, I must
ask WHY would the Vishanti create artifacts that could be used to command
and control them? Mystic entities oft impart some of their mystic
energies within an item as a means of reserve or a device that engenders its
user to be beholden to them. I can not recall of any “god-level” entity creating
something that can bind them to the will of a mortal. Usually, such things are
created by an enemy of that entity. So is that what these rings are? Some other
mystic entity’s “genie lamp” with the Vishanti “trapped” by it? As a maguffin,
Pak gives no explanation.
I am going to do my best here to assist Greg Pak in making
this tale correspond with what has been accepted as canon. In order for the Wong
of this story to ever be the one who first appears on Strange’s doorstep, as
shown in ‘Doctor Strange: Master of the Mystic Arts’ # 56, it can be explained
ONLY if he has been long-away from Doc after this tale and/or is truly,
drastically changed so that he needed to introduce himself, humbly, as a servant,
to the man with whom he shared this adventure. In fact the change in him needs
be quite drastic, which would explain why Strange had to use the Eye of
Agamotto to see if this was in fact true. Then, this portrayal of Wong can
synch-up somewhat with what has been told. In point of fact, the statement
that Strange says in that issue (DS: MotMA # 56) that he did not reveal “everything” while
recounting the tale of his origins, would help Pak’s case.
---------THE ARTWORK---------
I’d like to take this moment to discuss the artwork – that
of Emma Rios as well as Color Artist, Jordie Bellaire.
I will come right out and state that for a project aimed
purportedly at new readers, Emma Rios might not have been the best choice.
Before I get into any negative areas, I must state that Emma
Rios' storytelling - her use of ‘panel-by-panel continuity’ - is excellent. With a few instances where overly-detailed panels became
difficult to parse, the overall page layouts told the story without any use of
words (I know because I made a point of trying to do so). This is a sure sign
that the artist is doing their job in the graphic narrative. The body
language and facial expressions which she imparts on her
“actors” is often a joy. At times dynamic, other times sublime her characters
“feel” real.
Conversely, her portrayal of people, - their physical forms,
not their acting - leaves much to be desired here. Almost ALL of Rios’ characters
are drawn with peculiar anatomy, most often with elongated limbs and malformed
heads; a mess of grotesque faces and curiously proportioned bodies. Mordo is
often drawn as if seemingly suffering from microcephaly (a skull that never
developed properly and thus has little room for cranial or brain growth).
Of all the characters in the book, the female character of
Dr. Sofia Di Cosimo is the most realistic, while nearly all of the men are poorly drawn.
Perhaps not-so-ironically, this is a reversal of the frequent occurrence by
male artists where they draw male figures excellently but females are rendered
poorly (or as sex-objects). Even in her
portrayal of the giant heads of the Vishanti, while the artwork is
breathtakingly beautiful, her portrayal of Oshtur (a woman) is gorgeous, while
Hoggoth (a man) is a sketchy, poorly drawn portrayal. Agamotto (rendered as a
lion’s head) however, is fabulously drawn.
While I have called into question Emma Rios’ rendering of
men in this work, I have to give her a world of credit for capturing perhaps
what could be the best incarnation
of the Ancient One ever put to print outside of Steve Ditko's original. Her portrayal of the aged master makes
him look as ancient, as wise, as weird, and as Oriental as he should be. (You’d
be surprised how many previous artists drew him as simply an old guy, with maybe
the inclusion of a beard or a slanted eye.) At times (towards the middle of the tale), Rios’ Ancient One absolutely looked
picture perfect!
This uneven showing is not usual for Rios, as I have seen
her do beautiful work in other publications (Cloak & Dagger: Spider-Island,
Spider-Man, etc…) but here (and coincidentally in her other, earlier published
work featuring Doctor Strange) she seems to produce work sub-par for most
(American) publication. Of course, this work, with its many sweeping,
blur-effect brush-strokes, with speed lines and typically European
sensibilities, is the stuff which Manga and Euro-comics are made. Perhaps it is
just the stunted visual “taste-buds”, of a comic-reader used to an ocular diet less
exotic that is at fault. Still, while I have read and enjoyed many Japanese
Manga (including ‘Lone Wolf and Cub’) and European comics (mostly French and
Italian original works) I find that Emma Rios’ work – here, at least – to be,
if not an unpalatable, then at least difficult to digest, stylistic blending of
the two.
Her inking is often rushed-looking, sloppy, and smudged, seeming to
this reader as someone with whom inking is not a comfortable exercise. Often
dozens of blotchy lines are used when only one or two would do. (Perhaps, in an
attempt to hide inferior – or rushed - drawing behind too much technique? Or merely an experimental technique, not quite mastered as of yet.)
Of course, the confusing listing on the creative team of Alvaro Lopez providing "additional inks" makes it hard to assess proper blame or credit. Suffice it to say, the overall effect with the inking is mixed.
Many of these swirling, frantic etchings are an attempt to
portray movement. Sometimes this effect works. Most times it is distracting and
confusing, as these lines always compete with so many other lines which are
there to give (often unnecessary amounts of) detail.
Sometimes Rios is effective in her use of her inks to convey
mood. She manages to effectively play with light and shadow, but then only as
long as nothing too dynamic is happening to confuse matters. Sequences of events are often difficult to
discern.
Still, if anything, Emma Rios’ strength (and it is shown
here in numerous instances) is her use of non-paneled sequencing; events
blending one into the next as a miasma of phantasmagoric swirling pictorials.
In most of those instances, she shines!
She also draws some visually interesting and imaginative demonic
entities! One such instance is the attacking onslaught of spirits and demonic
manifestations that seems like a 3-dimensional representation of Picasso’s
famous “Guernica” – with a bull-headed entity at the forefront of a mass of
bodies, faces and otherworldly (or perhaps just deceased from this world) horrors.
Much credit and thanks has to go to colorist Jordie
Bellaire. Looking at Rios’ too-busily-inked artwork and trying to discern what
is what and where one thing ends and another begins must have been a daunting
task. Overall this visual work is only
understandable because of Jordie Bellaire’s vibrant palette and keen eye. If this were printed in
black and white, I think I’d still be reading it trying to figure out what was
going on.
* UPDATE*
I have just seen Emma Rios' ORIGINAL inked pages... and they are BEAUTIFUL!
They are for sale (link to the art site: HERE) and seeing them at original size, would actually endorse someone purchasing them. The prices are great!
So, to this, I can only surmise that the busy inking style, looks excellent at ORIGINAL SIZE, but when reduced to comic size, becomes a murky mess, lines coalescing into masses of ink instead of being seen as individual lines. Oddly enough, that was my original thought when seeing the work, but I'd have thought that a published professional would have sidestepped that beginner's pitfall.
If only this was printed as an oversize book - OR - in black/white/greytone... then her work would have appeared much better.
Such a shame.
---------FINAL THOUGHTS ----------
Of course, many of my points, counterpoints, comparisons and
finger-pointing can be laid at the feet of my being a dyed-in-the-wool, own-and-read-every-appearance, life-long fan of Doctor Strange, and that this work
is intended for a new, fresh-faced market. That is totally understood (and
understandable). Marvel is trying to attract the “next wave” of reader; fans of
the films and other media franchises (video games, toys, etc…) to bring them in
and introduce them to these characters, without forcing them to be steeped in
50 years of continuity. That should be a constant goal. However, I do not see
that the two are mutually exclusive. One can produce a canon/continuity-friendly
piece that appeals to both the uninitiated and the lifer. Also, if universal
appeal is to be the goal, then perhaps a choice of artist who can produce
clearer, less difficult-to-follow visuals should also be a top priority. If a
world-wide base was the demographic (as Manga is a much more popular style than
typical “American” comic art, world-wide) then perhaps choose a Manga artist
whose style is crisper and more refined.
If the goal of these “Season One” books is to hook new
readers, I see no reason to try to fix what isn’t broken. Doctor Strange’s
classic origin tale works perfectly as-is. The dynamic between Strange and his
assistant (if you want to steer clear of the un-PC term; “manservant”) Wong is
fine as it has been cultivated over the years. While, yes, Wong was originally
strictly a subservient acolyte, he had been given much greater weight and
importance in the service to the mystic master. While the role of servant,
caregiver and some-time body-guard for the Sorcerer Supreme is no small duty,
Wong was gradually turned into a student of sorts, as well as a teacher to
Strange (keeping Strange’s martial-arts skills finely honed), a confidant, and
an aide-de-camp. A friend.
So, it seems to be an unnecessary alteration of events to
turn Wong into some Jet-Li bad-ass rival, and a total dishonor to have him be
anything other than what his family’s tradition had trained him to be;
THE caretaker of the Sorcerer Supreme – as his father and
father’s father were before him. Certainly, it would be a typical Hollywood
angle, to have the young man rail against his fate and strive to be more than
what he is destined to be, but look at the culture from which he is raised.
Great honor and prestige is already his for the duties in which he is bestowed.
Any self-sacrifice that might entail is a badge of honor and to shirk it or
reject it would bring shame to his family line – something that Wong is far too
loyal to do. Perhaps that is why Pak removes any mention of Hamir the Hermit
(Wong’s father, and caretaker of the Ancient One), for if the father is no
longer a factor, Wong can rebel with no repercussions.
I mean no offence to the man in saying so, but I know, Greg Pak takes Asian portrayal in media very seriously, often
tweeting about the slights given to Asians by those sticking to stereotypical
(and often insulting) assumptions. I couldn’t agree with him more. Just because
a practice or erroneous belief once was a reality (or a falsely perceived one)
doesn’t mean that it should be propagated into the current or future of the
world.
However, that probably doesn’t fit into the cultural mores
where an honorable servitude to those who serve “the gods” might be one’s fate
(be it destined or a self-sought calling). There is nothing wrong with being of
service to others – just as long as you are treated in a respectful and humane
fashion by those you serve. Wong stands alongside a grand tradition of
helpmates to “crime-fighters”, such as Batman’s Alfred and The Avengers’
Jarvis. Oft of late, Wong has been much akin to Green Hornet’s Kato (whom
everyone knows is far cooler than the Hornet anyway). Wong can also be seen as
a monk serving a high-priest, such as the Dali Lama, with a total submission of
self in the path to his service of another, greater personage. There is no
shame in such a path. Indeed, it is of high honor.
Perhaps, it is time for many
vanguards of Politically Correctness to rethink some of their knee-jerk
reactions to perceived wrongs, and look at the whole of the portrayal. Wong as
a manservant is un-PC? Get over it. He need not be turned into some
kung-fu/mystic/bad-ass. Wong as man-servant (and sometimes protector) to the
Sorcerer Supreme of the entire dimension is a job that is more important, and
with more responsibility than that of the President of any
country. Sometimes the greatest among us are given the lowliest tasks. That
they do not see it as making them any lesser than the rest, continues to make
them greater than us all.
There is a GREAT sequence from an old issue of Doctor Strange's book (Master of the Mystic Arts # 15), written by Steve Englehart, where Wong is grocery shopping in Chinatown, and some other Asians give him grief for being a servant to a rich, white Doctor.
Wong tells them that service to a wise man is an honorable calling. Especially in his native land, which is the tradition that he is upholding, and that if they have any problem with that, it is THEIR problem to get over, not his.
This is the same thought that modern naysayers of the Doctor Strange / Wong relationship should keep in mind.
---
I guess I should mention that this volume, like the other entries
into the ‘Season One’ publishing project, also comes with a modern tale
reprinted as a back-up. Included with this original graphic novel is the first
issue of the most recent ‘DEFENDERS’ series, by writer Matt Fraction and
illustrated by the Dodsons. For a complete and comprehensive review of that issue,
feel free to check out my post on it [HERE]. Otherwise, let’s just say that if
Marvel was looking to include a recent comic that featured Doctor Strange it is
curious that they would choose one that was selling so poorly, and seemingly
destined for cancellation (which, as point of fact, it has been). Of course,
they may have been hoping that this exposure would help bolster sales of the
Defenders title, and help save it from the chopping block, but still, if you
wish to choose an issue from that series, would it not have been better to use
issue # 4 (a Doctor Strange centric issue)? My detailed, in-depth review of
that issue can be found [HERE].
Otherwise, a better selection for inclusion would have been
the fairly recent; “Doctor Strange: From the Vault” # 1, by Roger Stern and
Neil Vokes, which detailed a “Year Two” type of tale, showing Strange’s first
night in his Sanctum Sanctorum. Still, I’m sure that Marvel was hoping to turn
sales of this new work into a stepping stone for new readers to follow the modern
adventures (and continue to purchase publications) of its star. Sadly, with
exception to the flawed ‘DEFENDERS’ series, the only other exposure to Dr.
Strange available to current audiences is his appearances in Brian Bendis’ ‘(NEW)
AVENGERS’ franchise, yet even there, finding an issue that shows Strange in his
best light is a near impossibility.
If a new reader comes to me and asks me what to read to
“get” Doctor Strange, my suggestions, almost exactly as stated at the top of
this review will ever be; First find a reprint copy of Strange Tales # 115 –
the origin story. A mere 8 pages, and it gives you all you need to know – all
told beautifully. Then, read Doctor Strange: Master of the Mystic Arts # 56 –
the origin expounded – with some magical battles tossed in. Then read # 55 for
the full effect. After that… you may read what you wish with full understanding
and appreciation. Of course, my personal favorite retelling of the origin tale:
‘DOCTOR STRANGE’ (vol. 1) # 169 by Roy Thomas and Dan Adkins is lushly
illustrated and gives many of the first views into the two lives of Doctor
Stephen Strange.
(Of course, I’d also toss in: DOCTOR STRANGE; INTO SHAMBALLA,
DOCTOR STRANGE & DR DOOM: TRIUMPH & TORMENT and lastly “THE OATH”.)
---
As I stated at the start, to me, Greg Pak's "DOCTOR STRANGE: SEASON ONE" (like JMS' "STRANGE" before it) seems to be an attempt at
a movie-script-friendly modern origin update and this “SEASON ONE” tale, while
filled with some truly good stuff, can only truly be assessed as a giant-sized
issue of “WHAT IF?” (“What If? Doctor Strange had his origin TODAY?” – or – “WHAT
IF? Wong was Totally Bitchin’?”), and like JMS’ “STRANGE” (vol. 1) which was meant to be a new in-canon reinterpretation of Doc’s origin, Greg Pak and Emma Rios’ ‘DOCTOR STRANGE: SEASON ONE”, should be seen as an alternate universe tale that had many good points, but probably should not be included into canon (or at least CAN not, if taken as-is), and is suggested only for the die-hard
collectors, the completists, and/or fans of the creative team.
However, as it IS a rip-roaring, fast-paced, high-adventure story, if you care not that significant portions of canon are either changed, ignored, or “fan-fictioned”, and are not a die-hard Doctor Strange “historian”, or if you are simply looking for an exciting tale, then this will undoubtedly be a must-read!
---END---
The concern for the younger mystic before his departure, and then the absolute despair and sorrow when it is thought that Strange was forever lost... only to give way to the exultation and heart-lifting gladness when his "son" returns is a hallmark of their relationship.
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