"Part 2”
Writer: Neil Gaiman
Artists: Andy Kubert (w/ Digital Paints by Richard Isanove)
Publisher: Marvel Comics
Synopsis:
A series of devastating storms are rampaging across 17th century Europe destroying agriculture and national economies in their wake. The Queen of England fears the end of the world, while the King of Scotland plots to usurp her throne. All of Europe blames the “Witchbreed”, mutated humans with incredible powers, for the dire weather and have begun systematically purging them from the earth. Meanwhile agents of the British Crown seek a magical device that will return the balance of nature, but will they be too late.
Comments:
1602 is a frustrating mini-series. I want to like 1602, I really do – but there are so many problems with the story and execution, not the least of which is the $3.50 price tag, that my enjoyment level so far has been low. I usually won’t touch “What If” or “Elseworlds” books set in a historical context, but yet I’m drawn to the premise of 1602. Setting the Marvel universe at the beginning of the 17th century when mirrors were still cutting-edge technology and the wrong religious affiliation could get you hung in the town square is pretty cool. It’s much more compelling than re-imagining the JLA in colonial Japan, for example. But 1602 has been slow to get started and bogs down with frequent, unnecessary exposition.
Writer Neil Gaiman is slowly introducing a cast that will probably number in the hundreds. Some of his characterizations work like Nick Fury as head of British Intelligence and Stephen Strange as Court Magician. But others don’t, such as young Peter Parquaugh (Parker) a creative youth who enlisted with Fury just to send money home to his aunt and uncle – Peter is just a kid with no discernable talents yet Fury sends him off on critical missions for the queen. Where’s the logic in that? More successful, however, is Gaiman’s use of history as a backdrop. Though Gaiman plays loose with his interpretations of some events, like The Spanish Inquisition, which did take place during this period but was intended to prevent the arbitrary public burnings of heretics rather than to suppress the existence of “Witchbreed” – but his alteration makes for an effective metaphor nonetheless. There are a lot of other subtle touches, mostly conveyed through the art, which cement this story in its chosen timeframe. Unfortunately, the dialog is long-winded and flowery, usually reading like a Cliff’s Notes version of Shakespeare and only distracts when I’m sure it was intended to enhance mood. I just can’t believe anyone would talk in this overly descriptive manner; it’s incredibly inefficient even for British royal protocol.
The most interesting character so far has been Matt Murdock, though he’s only in this issue for a few pages. Murdock is an agent for Nick Fury whose cover is a traveling bard, which is a wonderful idea, at least until he starts singing. For some reason singing and comics don’t go together, maybe it’s because I’ve got white guy rhythm. In keeping with his contemporary character Murdock is blind; in fact, Fury has never seen him in daylight, which makes for an interesting relationship. Really, I don’t care why Murdock is blind, but Gaiman feels compelled to provide his back-story, which is terribly contrived and doesn’t serve the narrative at all – though I suspect it may tie-in later. This is my primary gripe with 1602, Gaiman brings the pace of his story to a grinding halt each time we meet a new character who blurts out a synopsis of their life story in each case; even Gaiman seems embarrassed by it when Fury meets Master McCoy of the X-Men who drones on about his dead parents and the suffering he’s endured for being a freak, Fury dryly comments that McCoy is a creature of few words – if only.
My other issue is with the art. I have great respect for both Andy Kubert and Richard Isanove, but there’s a quality to their work here that feels Anime influenced and therefore totally the wrong for this subject matter – at times Peter Parker looks absolutely Asian. Isanove is taking computer coloring in a drastically different direction, much as he did in the recent Origin. But the colors at times either seem too vibrant or too warm. Additionally, the painterly brush effect he applies to faces and textures seems just for show, it doesn’t represent traditional oil paint in the least, in other words I know I’m looking at computer art at all times. I respect that Isanove is pushing the boundaries of comic art and color, but this feels too much like a work in-progress than a particular technique. However, there are moments where Kubert and Isanove nail it, such as the first appearance of Dr. Doom. Overall, there is nothing else on the shelves quite like 1602 and I find it appealing in general, even if I have problems with some of the elements in particular.
Final Word:
Neil Gaiman has invested some interesting ideas into 1602. It’s great fun to see Marvel characters realized as post-Renaissance bards, mages and spies. The “New World” has been mentioned enough that I’m sure the story will travel in that direction soon and perhaps we’ll get to see the colonial version of Captain America and the Avengers – I’m dying to see how the Hulk is portrayed (someone told me that the Rojhaz character is Captain America, but I don’t see it). Now if only Gaiman will get out of his own way and allow the core story to be told. We all know the 1602 version of Daredevil is Matt Murdock’s singing bard, we don’t need to see him eating magical, green tree sap then going blind to prove it.
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