OR: "How To Bag A Spider-Man"
Comics superhero stories played strictly for laughs have for the most part proven to be hit-and-miss with me. On the one hand, I prefer to sit down with a comic that provides a level of tension and drama for the hero(es) of the book and draws me into an involved story that's successfully piqued my interest; and on the other, a story that's produced all in good fun comes as a complete surprise to me and can read like page after page of slapstick, and panel after panel of witticisms and one-liners. Following a thirty- or sixty-day wait for a new story, something done in farce can be a letdown.
One character who has arguably become the poster child for such a story is the White Rabbit, the "Alice In Wonderland"-inspired criminal with delusions of grandeur who indulges in a life of crime as a lark in heists ranging from petty theft to grand extortion, and whose wealth (that's putting it mildly) affords her whatever resources she needs to avail herself of, whether it's weaponry, manpower, or equipment. Her first two outings drew the involvement of the Fabulous Frog-Man (descriptive nomenclature his own), offspring of the original Leap-Frog, who joined with Spider-Man to put an end to her plans; but when she captures and holds for ransom the Grizzly and the Gibbon, two costumed former criminals gone straight, she still finds it a struggle to be taken seriously, either by the Mayor of New York, or by this book's title character...
Writer J.M. DeMatteis with artists Luke Ross and Dan Green get right down to business with the Rabbit, as she airs her demands to the Mayor but unfortunately ends up with a less than receptive audience.
Meanwhile, Peter Parker and his wife, Mary Jane, while discussing the uncomfortable fact that the city's anti-Spider-Man hysteria seems to be at an all-time high (thanks to new Daily Bugle publisher Norman Osborn), learn of the Rabbit's extortion attempt while passing by a television seller's shop, where the clientele and the Mayor appear to be of like mind.
As for our hapless hostages, they see their captivity as a priceless opportunity for lucrative exposure--should they somehow find a way to not be captives, that is.
And so the Rabbit unleashes her Flying blimp Hare over Manhattan, along with its armament of (I'm sorry) carrot bombs on those helpless citizens unlucky enough to fall under its shadow. Nor is the Rabbit's grasp of mathematics liable to win over her critics, as she proceeds to raise her original ransom demand by shaving off a number of zeros.
When the Rabbit returns to her hare lair to await the Mayor's response, we can only assume it's her contempt for his counter-offer that prompts her decision to dispose of the Gibbon and the Grizzly. (It's all guesswork in an issue like this--and at this point, no one really cares, do they?) More hilarity ensues when Spider-Man's entrance causes the pair to plummet to their doom--while the appearance of Spider-Man himself is cause for Peter to make a few revisions to his own origin.
More references to the embezzler known as the Big Wheel, whose choice of conveyance would obviously fit like a glove into this type of story. But though the actual threat which has made its entrance has no colorful rabbit-themed name, it's managed to kayo both the "Bag-Man" and the actors who signed on to the Rabbit's payroll, in an apparent triumph for this *ahem* hare-brained, self-styled Queen of Crime.
What she hasn't taken into account, however, is the resourcefulness of the two budding heroes she's held in such disdain, who made good use of the Rabbit's killer bunnies waiting in the Pit of Doom. The triumph is theirs this day--and with their road to fame and royalties assured, they're magnanimous enough to offer some guidance to the new kid on the block.
Supposedly avoiding any serious prison time because she has the best lawyers money can buy on retainer, the White Rabbit continued to make appearances in a number of stories, not only in the ASM book and its spinoffs but in a number of other titles, as well--even becoming the partner of Arcade, a match made in... well, I wouldn't care to guess.
8 comments:
I think you're being a bit harsh, C.F. The art is more than acceptable and the story is cute.
My irritant quotient at buying such an issue after waiting a month would entirely depend on what came before and what comes afterwards. Any longtime fan of comics has experienced an epic storyline interrupted by missed deadlines. Instead of the next thrilling instalment, it's some crap inventory story or a reprint. (which Marvel presents like the bestest of all possible surprise treats)
However, if this was a bit of whimsy after a major storyline finished, but before ramping into the next one, I'd be quite content. Sort of like the legendary Hercules issue at the end of the Surtur Saga in "Thor".
Of course, you're justified in being leery. Despite the name "comic", most writers are WAAAAY more comfortable with melodrama and death than being able to pen a joke.
I must admit, Murray, I found the Grizzly and his partner in farce, the Gibbon, almost endearing--to say nothing of "Bag-Man." (Whose signature line, "It's checkout time, creeps!", regrettably never saw the light of day.)
Sad news - the Marvel Comics app is closing on June 2nd. I've had this app for years and it enabled me to keep up with all the latest Marvel comics and news from the MU but no more :(
You might try bookmarking their Release Calendar as a workaround, Colin--and there's also their general News area which lets you navigate any areas you're interested in.
OK, thanks CF!
I have a strange fondness for the White Rabbit. I think she has a great look. And I think she can easily go from whimsical to surreal to creepy. She's one of those villains - like Attuma - I love more for their potential than how they've been actually used.
By the time this issue came out, DeMatteis had left a very popular run in Justice League, the "Bwah-Ha-Ha era" with Keith Giffen and Kevin Maguire which merged the superhero genre and comedy together.
I think the super-hero genre is one where you really need to play it straight. It's perfectly fine to have humor and wit in it, but it must come organically. It's just too easy to make fun of it because of its juvenile nature and conventions. If you actually start doing comedy in it with gags, it quickly falls apart. (I have no problem with parody and satire books provided they are in their own reality and not part of a more "realistic" universe). It's the difference between the humor shown in the James Bond movies of Sean Connery, and spy spoofs like Our Man Flint.
Peter David is a good example of a writer with high craft who sometimes crosses the line in comedy in a superhero book. He can't resist putting in gags that actually don't make sense in a semi-realistic setting. Also sometimes Peter David just had to insult the lame characters. If you really think a character is lame, just don't use him.
I found John Byrne does a much better job. I liked his She-Hulk run a lot more than I thought because despite the humor and breaking fourth wall, it always seemed to take the setting realistically. He just limited himself to using terrible villains that already existed in the setting. But everyone behaved like it was serious. So for some reason I could tolerate even ridiculous things like She-Hulk escaping from a trap by tearing through one of the comic pages and running across one of the ads. But I cannot remember Byrne ever insulting a character outright to let the readers know he didn't like that character either.
I think this issue passes a little too much over the line. Other people have different tastes, I know.
Chris
Chris, I must admit to having looked at a few stories of Sensational She-Hulk (while prepping a related post) and being turned off by that fourth wall being discarded whenever the moment called for it. Also, I had to believe there were bound to be readers new to the book (or to the publisher) who wouldn't be in on the joke--for instance, having no knowledge of a Marvel writer or artist (or a related story) that She-Hulk had quipped about.
In general terms, I agree with Chris 100%; I cannot abide "humour" where the characters mock each other and themselves because superheroes are ludicrous. If they don't like super comics, go work in door-to-door refrigerator sales and leave us to our fun.
I blame the "bwa-ha-ha" era for starting this self-mocking trend. Every issue back thru that period made me grind me teeth in too-serious anger. I have since loosened up, but still don't care for the style. At all.
The fourth wall should only be broken infrequently and with surgical precision. Then the shock value may provoke a guffaw. Used even once too often and it becomes fargin' stupid. ("She-Hulk: Attorney at Law" used it sparingly for a few asides, and it was tolerable, and even witty. Then the big finale episode had both barrels blowing out the fourth wall and I was bored out of my mind.)
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