The 40 Years of Comics Project - Day 1718: Thundercats #1, December 1985

I have some nice nostalgic feelings about Thundercats. I remember watching the series as a kid, being annoyed by Snarf, but generally enjoying the story.

This comic didn't quite have the same effect, though whether that's quality of narrative or distance of nostalgia, I'm not sure. There's a flimsy set-up (planet destroyed, this group is the only one that survives the escape), and then some action, and then some more action on "Third Earth." (I'm actually fascinated with where humans must fit in this world - if it's Third Earth, does that mean humans colonized it? And where did Mum-Ra come from?)

I was curious in the first couple of pages as to whether or not the characters were, for the most part, naked. They seem to be, as Tygra, at least, is walking around in bear (or tiger) feet. Chetara has boots, as does Panthro, but it doesn't look like they're wearing clothes. Which makes sense. If you look at a cat, they're not wearing clothes, though one could make the case that that's what fur would look like on an anthropomorphic creature.

I think about these things too much.

"H-how am I supposed to use the sword, Jaga? I-I can't even lift it!"

The 40 Years of Comics Project - Day 861: Omega the Unknown #10, October 1977

There's an argument to be made that this would actually be a great place for us to leave the story of Omega and James-Michael. I'm kind of reminded of the Milligan/Fegredo series Enigma, in which the main characters simply walk off screen at the end and we stop following their story, even though some of the plot points aren't quite cleared up. The end of today's comic would make an interesting ending, though leaving us hanging over the revelation of new versions of James-Michael's parents would be a bit cruel. But Omega's end in this issue? It could totally work.

One of the letters in today's comic articulates my own reaction to Omega, and strengthens that Lynchian vibe (especially after Twin Peaks episode 8 - what the hell was all that?!): I have no idea what's going on in this comic. It offers hints of a narrative that we just don't have enough information to fully comprehend quite yet. Why does the caped man want to make lots of money in Las Vegas? What's the deal with the weird secret-compound-like state of James-Michael's old home? And the fact that we can't comprehend it is just fine. Not everything we hear, or experience, is comprehensible. Why, then, should our stories be?

I had mentioned that this was only sort-of the end of Omega. Though the comic promises that the story will be finished somehow in the pages of The Defenders, Steve Gerber and Marvel acrimoniously parted ways not long after this comic was published, and the finale of Omega was handed to Steve Grant. So there is a final chapter to this story in The Defenders (and I'm in the process of tracking it down), but it won't be the ending that the story was heading toward, or deserves.

Glad to have read this - it cements my thinking that Steve Gerber was just too far ahead of his time to garner the kind of success he deserved. Had he been one of those up and coming writers during the British invasion of the late 80s, I think he might have rivaled Moore, Gaiman, or Morrison in terms of fame and popularity.

On to something different tomorrow. See you then.

The 40 Years of Comics Project - Day 860: Omega the Unknown #9, July 1977

Gerber and Skrenes return for the last couple of issues of Omega, and as yet there's no indication, either narratively or from the editorial pages, that the title is in danger. One potential indicator is the divided response from readers on the letters page. Some are so very into the style of storytelling that Omega is beautifully demonstrating, and some see it as nothing more than wordiness and meandering that has not place in a superhero comic. I think this demonstrates a fundamental way (or two, really) of understanding superhero comics, and one that leads into that old saw of the genre being little more than adolescent power fantasies. Omega eschews that description by actually placing an adolescent in the story who is completely atypical for that demographic, and by utilizing a heroic figure who does not buy into the rigidity of superheroic practice that one might glean from other Marvel comics of the time.

One thing I'd like to note is the way that the regular writing team re-enters the comic with little or no hiccup over the fill-in teams. This is one of the advantages of the Marvel method of comic creation that was at its apotheosis in the Seventies. Both Scott Edelman and Roger Stern would likely have worked from a synopsis supplied by Skrenes and Gerber, in that Richard Rory shows up (which was intimated before the fill-in issues), as does the Fookkiller. Both of these are characters from Gerber's tenure on Man-Thing, and it's unlikely that they would have simply appeared in the story if there wasn't already a precedent in the plotting. So while the issues were definitely not on the same level as those written by the regular team, they still contribute to the overall plot (what little we have) set out by that team.

I think.

As with many of Gerber's other works, the character for whom the title is named is in many ways a secondary character, and it's the characters who are more of the secondary mold that move into the limelight. Omega himself is interesting, but not nearly so much as the little tribe that is forming in the Hell's Kitchen apartment with James-Michael. Though, that said, their story would likely not be quite as alluring if there wasn't the intimation of connection with Omega. It's so sad that tomorrow's issue is the last one. Sort of...but we'll talk about that tomorrow.

To be continued.

The 40 Years of Comics Project - Day 858: Omega the Unknown #7, March 1977

The first of our fill-in issues standard superhero fare. Villain robs bank, innocents caught in the crossfire, superhero responds, punches are thrown. I suppose that's going to be the case most of the time with a fill-in. A writer can't do too much to diverge from the main story, but still has to make the comic exciting enough that, as I've noted many times about serialized fictions, the reader comes back in a couple of months.

And while there isn't much plot development, Scott Edelman, our fill-in writer, does try to emulate the style of storytelling that Gerber and Skrenes have cultivated, to a certain level of success. That aside, though, not much happens in today's comic.

To be continued.

The 40 Years of Comics Project - Day 857: Omega the Unknown #6, January 1977

Though Omega stands head and shoulders above much of the mainstream superhero output of the Big Two in the 70s, it doesn't always manage to avoid the annoying cliches of the medium of its origin. Today's cover is so thoroughly misleading. Let's look just past the fact that the antagonist is actually a blonde man in the comic itself (strange that that could be missed in the colouring. I wonder if the same person does the colour guides for the cover and the interior?). The large man in the overalls also appears to be specifically targeting Omega, and to be villain monologuing at the same time, neither of which is actually the case in the comic. Instead, we have a mentally-unbalanced man hearing voices and having a large amount of pain in his head lashing out at all and sundry in an effort to make the pain stop. What Gerber, Skrenes, and Mooney are obviously doing in the comic is portraying a very seriously disturbed man who is little in control of himself. What the cover depicts is a "bad guy."

There's conversations to be had about a number of things here. First we can think about this in terms of judging books by covers. That's what much of the comics industry relies on, really. A catchy, well-designed cover will draw the eye, and tempt one into looking within. And if that cover also features some awesome-looking action starring our hero, so much the better. It's not that cover is completely lying about what happens in the issue. Omega is attacked by a large man with a wrench (though it's the bullet between the eyes that ultimately takes him down !!?!), it's just there isn't the actual intent behind it that seems to be being portrayed here. Second, and this might be a stretch, portraying this man as villainous on the cover but troubled in the interior problematically stigmatizes mental illness. It's quite obvious from the interior captioning that we're supposed to have some sympathy for this man struggling with what seems like an insurmountable psychic problem. So to see him as villainous on the cover implicitly links dealing with serious mental illness to villainy. That's worrying.

Did I mention that Omega gets shot in the head right in front of James-Michael in this issue?

The next two issues of the series are guest-written. My thinking is that this is when Gerber started really being in conflict with Marvel over HTD, which perhaps necessitated some fill-ins. I wasn't going to read them, but I think I actually will. One is written by Roger Stern, who's a writer I really like, so that'll be cool.

To be continued.

The 40 Years of Comics Project - Day 856: Omega the Unknown #5, November 1976

Omega (who's only been called that in the press, and never refers to himself by that name) has that most 70s of superhero experiences in today's issue: the mystical experience.

A fair number of comics writers and artists in the 70s started thinking about the superhuman as vehicle for the kind of experience usually relegated to psychedelic entheogen trips. I posted an example in a review of a Jim Starlin Warlock comic a while back, and as I note there, it's pretty typical of the superhero transcending consciousness.

Omega is attacked by two ghostly cats, servitors of El Gato, villain du jour, who push him from his dimension into astral realms. A strange reaction between Omega's powers and the dimension he's in actually disintegrates his body...and when next we see him, he's sitting in an alley outside the shop he's been staying at all this time. Though we do get a bit of the psychedelic weirdness of the other dimensions, it's interesting that there appears to be an entire portion of Omega's experience that we're not privy to - that which comes after his discorporation. We could assume that he wakes up immediately in the alley, but there's narrative that takes place between those events, which gives the impression of time passing after his body vanishes. Unlike many of the mystical odysseys superheroes went on in this era, we're not told nor shown all of the revelations Omega might have had. Either they're indescribable, in which case why try (let's ask H.P. Lovecraft that!), or Omega himself doesn't really understand or remember what happened. Either way, we're focalized through the character of Omega through omission rather than through inclusion, which I think is an interesting way to approach focalization.

Omega does bring down El Gato in this issue, with a little help from his friends. And James-Michael endures some of his own rather violent adventures at school.

To be continued.

The 40 Years of Comics Project - Day 855: Omega the Unknown #4, September 1976

There's a fairly large distinction between something intended for serial publication and something intended to be published as a standalone story in a single volume. It's unfortunate that in the 70s, Marvel, and most other publishers, were not quite as receptive to superhero graphic novels as they are now. Omega the Unknown is, almost undeniably, a single story, one that needs, or needed, to be told in its completion, rather than serially. While the story is, as the effusive praise of the letters page testifies, maintaining a lovely mystery around the two main characters, it's not really doing the sorts of things that serially-intended tales need to do. Each issue is building on the previous one more like chapters of a novel. The difference between a chapter ending and a serial publication ending is one that I talk about when I'm teaching comics, especially when I'm teaching collections of comics originally published on a monthly/bimonthly basis. Such stories will, generally, have some kind of cliffhanger at the end in order to bring the reader back to the series the following month. I am, of course, speaking in vast generalities here, but by and large if you're telling a story that you want to make sure your reader is willing to remember and come back to, you need to have a hook of some kind.

Omega, while it has subtle hooks, doesn't have the momentous, climactic moment at the end of each issue that entices the reader back. It's more an impending sense of revelation than the revelation itself.

Which, of course, is what will keep me coming back over the next few days to finish the series, but is also probably ultimately what contributed to the low sales of the series. As critics of Lost are wont to point out, you can only go so far without revealing some details of your primary mystery, and my sense is that not much of it is revealed in the 10 extant issues of Omega. But this likely has to do with the fact that the climax of the story is meant to be the revelation of the mystery, and once revealed, the story is done.

To be continued.

The 40 Years of Comics Project - Day 854: Omega the Unknown #3, July 1976

Omega is entering slow-burn territory, and I don't have a whole lot to say about this issue. Our hero, well one of them, does manage to escape from Electro and disable the strange robot that seems to have followed him from wherever he came from. Meanwhile, James-Michael starts school, is antagonized by a bully, and makes friends with some other kids.

And that's it.

This is not to say that the comic wasn't enjoyable, just that not much happened in it. Maybe tomorrow will be a bit more eventful.

To be continued.

The 40 Years of Comics Project - Day 853: Omega the Unknown #2, May 1976

The second issue of Omega continues to be mysterious and strange, and more and more as I read it it reminds me of a 90s Vertigo superhero comic, albeit with the very, very Seventies use of the second-person caption box (i.e., the narrative voice speaking directly to the character using the pronoun "you").

Both the Hulk and Electro show up in today's comic. In the initial issue, there was no real mention of any of the other Marvel U characters, and part of me thinks that the story might have benefited from not actually being a part of the Earth-616 continuity. It seems to be telling a very different kind of superhero story from the mainstream. On the other hand, the inclusion of Omega in the Marvel U allows us to hold the character and situation up in contrast to something like the X-Men or Avengers in terms of how it is treating the superhero and its relationship with both individuals and with the society it inhabits.

That said, the Hulk is not necessarily the best comparison in this case. Where Omega appears to be fulfilling a traditional superheroic role, the Hulk is quite far from that, at least in the incarnation that appears in this issue. I think a far better comparison might have been, in this era, the Defenders, whom Gerber was scripting at the time, or even someone like Captain America, whose history up to this point very often involved younger sidekicks. Part of the story, as confirmed in the text piece by Gerber in the first issue, is considering the relationship these sidekick characters have with the heroes they assist, and how the relationship might be envisioned when the hero is not completely, or at all, human. Not that James-Michael is a "normal" young man, but, as far as we know, he's still human, whereas Omega is...something else.

If I want to speculate a bit, I'm thinking that Omega is actually from the future, and James-Michael is either him as a young boy, or a template from which Omega will be created. Though, as I noted yesterday, the answer to this question, or the Gerber/Skrenes answer to this question, will likely never be told.

To be continued.

The 40 Years of Comics Project - Day 852: Omega the Unknown #1, March 1976

Today we begin one of the great mysteries of Marvel Comics. Well, it's sort of a mystery. Omega the Unknown was cancelled after 10 issues, leaving numerous plot elements dangling and a promise from writer Steve Gerber that he'd finish the story one of these days. Unfortunately, Gerber and Marvel acrimoniously parted ways before that could happen, and Gerber never revealed how the story was meant to finish. Steven Grant wrote a conclusion to the series in The Defenders, but the Gerber/Skrenes/Mooney version sadly never saw the light of day.

Today's issue offers a nice, if very strange, set up for the series. It might be all the Twin Peaks I've been watching over the last little while, but this comic has a very Lynchian vibe. I'm not surprised, though. Gerber and Lynch have very similar sensibilities when it comes to utilizing the ridiculous to communicate a point. The stories of Omega and James-Michael are told in parallel, only coming together at the end of the issue. In fact, much of the Omega storyline is communicated to James-Michael as a dream, so right up until the end of the issue we're wondering if the superheroic action of the story is actually all dream.

Of course, then there's the problem of James-Michael's parents, whose bizarre fate lets us know that while he may be dreaming about strangely-costumed heroes, James-Michael is inhabiting a very strange story all his own. There's a wonderful ambiguity to all of the events that occur in this comic, and just enough hinting that there's a bigger picture we just can't see to bring us back for another issue.

To be continued.