Underrated/Overlooked: World War Hulk: X-Men

Sometimes comics can be poetry; they can be works of art; they can be an allegory to a far greater statement used to illustrate the thoughts of their creators in a unique and beautiful medium.

But other times it’s just fun when people in colorful costumes punch each other and talk smack with lots of double page spreads.

However, to say just about any comic book story is just about the punching is a disservice to that story, as there’s generally—not always—something going on at a deeper level even when the surface is a popcorn movie. In my mind though, there’s certainly nothing wrong when the first level of fun is what sticks with you and you perhaps lose the sublevel context unless you’re re-reading; a well-executed fun comic is every bit as impressive as any other sort of achievement from where I sit.

Greg Pak and John Romita Jr.’s World War Hulk is the type of story I remember fondly as a fun comic with lots of punching. Pak had just told a year-long epic weaving science fiction with commentary on The Hulk’s inner identity and sense of self and managed to climax all that character work in a blockbuster that both showcased Romita’s proficiency for drawing the big fights as well as the emotional payoff for the build.

Within the larger event was the three-issue World War Hulk: X-Men limited series by Christos Gage and Andre Di Vito. Now just as the main event worked in pathos with the action, so too did this side story, with moral dilemmas playing a major role and the quiet moments of characterization standing out, but at the end of the day, I know my friend Christos Gage, and I believe he set out to tell the coolest “action figures come to life” romp he could with The Hulk fighting the X-Men—and he succeeded.

The gist of World War Hulk is that the Illuminati rocketed Hulk into space with the intention of sending him to a quiet planet where he would be happy and left alone, but instead he ended up on the war-town world of Sakaar; nonetheless, Hulk flourished on Sakaar, overthrowing a dictator, making friends and falling in love, but then a bomb he thinks the Illuminati placed on his ship detonated, killing most of the populace—including his new wife and their unborn child—so he heads back to Earth with what remains of his army and declares war on the dudes who sent him into space to begin with.

The gist of World War Hulk: X-Men is that Professor X wasn’t at the Illuminati meeting where they made the whole “send Hulk into space” call, but Hulk wants to find out how he would have voted had he been there, and he’ll beat the crap out of every X-Man to get his answer straight from the source and then decide his response.

The first issue has Hulk crashing the X-Mansion where Professor X and Beast are hanging out with the New X-Men while the adults are all off on a mission. One of many cool/smart moves Gage does with this series is structures the whole thing like a boxing/wrestling card with the undercard stuff gradually building excitement to the main event. In this case, the opening bout is the inexperienced and outclassed New X-Men going up against the strongest force in the Marvel Universe and getting their plucky butts kicked, but not before dishing out some decent shots like X-23 kicking Hulk in the eye with one of her toe blades. It also gives Xavier a chance to agonize over yet another mistake coming back to haunt him—this came right on the heels of the double reveal that he created Danger and concealed the existence of Vulcan and the rest of the second class of X-Men—and his most innocent students suffering as a result.

By the end of issue one, the first cavalry arrives in the form of the Astonishing X-Men cast: Cyclops, Wolverine, Colossus, Emma Frost and Kitty Pryde. At this point, Xavier is ready to surrender, lest more of his protégés suffer, but Cyclops and Emma, showing signs of their growing independence from the Professor, tell him that’s not happening—they’re pissed at him for lots of stuff, but only they get to punish him for it—and we’re set for the next round.

This would be a good time to mention how perfect Andrea Di Vito’s art is for this story. His figures are smooth and exaggerated in the right way for super hero comics, even more so super hero comics with lots of fighting with fists flying, claws popping and energy blasts of every shape, size and color being tossed around. As he showed in Annihilation, Di Vito knows how to choreograph the visual aspect of a massive battle beautifully and also how to bring a large cast to life, two musts for this series. Di Vito’s art perfectly walks that line of intensity and fun with some brutality mixed in for effect, and it’s exactly what Gage’s script calls for here.

So with the second issue we get into the big ticket battles in earnest, as Hulk has some actual competition, and said competition continues to expand as the smashing continues and more X-Men—including Nightcrawler, Warpath, Darwin and Hepzibah—along with X-Factor get conscripted into service. You’ve got to love—or at least I do—how Gage doesn’t just go for the easy route of fan service taking all the toys out of the toy box and then putting all the work on Di Vito to just make an eternally neat premise come to life; he actually thinks out the fights and comes up with some genuinely clever twists. I dig how he solves the issue of Darwin, the mutant who evolves to face any threat, by having his power determine the best way to protect him is teleport him to Connecticut, thus taking him out of the fight.

Given their history, Wolverine and Hulk obviously get some significant screen time, although I’m once again impressed on how this creative team is able to push quality over quantity and not let this battle take away from any other in terms of real estate. Di Vito proves up to the task of depicting the requisite grisliness of Logan slicing up his most unbeatable foe and two guys with mega healing factors going to town, but my main kudos goes to another thinking man’s twist by Gage as to the resolution of the fracas—and I am of course going to spoil it here—as he has Hulk rattle Wolverine around by the head, reasoning that even though he can heal real quick from physical wounds, the brain damage caused by squishy gray matter inside an Adamantium skull is a lot tougher to bounce back from.

Another deserving character who gets a nice spotlight here is Colossus, the X-Men’s resident strong man and the Marvel Universe power broker who generally gets left out of the discussion when folks debate their Hulk vs Thor vs Thing battles. Peter Rasputin has a nice showing that focuses on how even though he’s no match for The Hulk—or probably any of those guys—from a pure power perspective, his heart and how much he cares about his friends keeps him in the game; it doesn’t stop him from getting brutally dispatched and having his metal arms broken backwards, but it keeps him in the game for a bit.

On that score, World War Hulk: X-Men is in a lot of ways about Christos Gage giving every X-Man across the board of power and popularity their turn to shine even if it’s in the smallest way, and it’s neat to see that kind of instant credibility a character can receive by lasting even a couple panels with The Hulk—and indeed Gage makes sure to impress upon us that is a big deal.

The Hong Kong action movie style you’d see in a Bruce Lee or Jackie Chan flick where the bad guys attack one at a time to give the star a chance to show off their moves is what Gage employs here with the X-Men as the henchmen, but in this case he manages to use the fight tableaus to give both combatants cool moments. Warpath gets to do a little slicing and dicing with his Vibranium knives before getting swatted away. Monet actually stands toe-to-toe for a bit. Strong Guy nearly gets the job done before being undone by the inherent limitations of his own power. Hepzibah uses the Blackbird as a lawn dirt. And Jamie Madrox gets to hold his own in a verbal spar with Emma Frost.

Nobody gets to shine like The Juggernaut though.

If you know Christos Gage or have ever read an interview with him, you know that he has his particular passion characters, among them Union Jack, Devil Dinosaur, Red Ronin and in particular The Juggernaut. He’s a pro, but he’s also a fanboy, and he’s a dude who loves seeing Juggernaut being big, bad, and crushing everything in his unstoppable path. By the time World War Hulk rolled around, Juggernaut had spent a couple of years at diminished power levels and on the side of angels; when he got his turn at bat, Gage decided to take a swing at bringing back the character he loved but without having to disrespect any work that had come before in the process.

In the second issue of World War Hulk: X-Men, Cain Marko makes a plea to his patron, Cyttorak, to amp his powers back up, ostensibly so he can rescue his half-brother, Professor X, from The Hulk, but ends up getting dropped into the action still at half-strength then stomped. Cyttorak wants his avatar back to being vicious, and realizing on some level that’s what he wants as well, Cain agrees to go back to being a badass, armoring back up and giving The Hulk a real run for his money. Gage scripts the Hulk-Juggernaut smackdown with glee while Di Vito brings his amped up A-game to bear on the comic book equivalent of slamming two locomotives together over and over. It’s a great fight, but perhaps more importantly it allowed Gage to add some edge back to Juggernaut without overwriting his years as a decent dude, placing some acknowledged internal struggle between the character’s desire to better and deeply held love for mayhem.

Without completely spoiling the ending—even with all I’ve already given away, you should still absolutely check this out for the stuff I haven’t plus the great art—the ultimate resolution comes from a fairly unlikely source and in a way that leaves the story without any real winners, a parallel to the larger story of World War Hulk.

Fitting the X-Men into larger events has been a tricky proposition since the days of Secret Wars, as they’re so vast and such an overwhelming presence that bringing them in without making the story all about them can be tough. Their co-star billing alongside the Avengers in House of M pretty much shoved everybody else out of the picture, while I can’t picture the main threads of Infinity Gauntlet, Civil War, Secret Invasion and so on holding up as solidly with a few dozen mutants crowding the picture. Off-to-the side stories that have value and make the X-Men part of the bigger happenings are always welcome and that’s what Gage and Di Vito give us here.

They also created a story I remembered as fun and then came to see as darn clever upon reflection, so well done all around.

The Best of 2010 Comics Gift-Getting Guide

While plenty of places will provide you with lists of what gifts to get for comics-loving friends and family prior to the holidays, it’s my tradition here on the Cool Kids Table to wait until after y’all have gotten all those nice gift certificates and store credits and then let you know what to spend them on.

There were a bunch of great comics this year, and while I’ve singled out 22 collections here I think deserving of your dime, I also encourage you to check out my Comics Worth Reading archives for some I may have overlooked.

AVENGERS ACADEMY: PERMANENT RECORD
Using a very specific story structure over the first almost year of Avengers Academy—the first person narration shifting from one cast member to the next each issue—I think Christos Gage has pulled off the ever-challenging task of introducing half a dozen really intriguing new characters who I’m already invested in. The series has yet to have one true overarching multi-issue story, which I kind of dig, as it gives the book a different feel and sets it apart with the emphasis really being on character and relationships over big action (though the fights are still well-done, don’t worry). This first volume provides a wonderful introduction to a unique and entertaining series with superb art by Mike McKone and others plus some fun guest stars to boot.

BATMAN AND ROBIN: BATMAN MUST DIE!
As I so often do with Grant Morrison’s work, I couldn’t fully appreciate it until all the pieces were on the table. Am I too impatient or just not smart enough to get it earlier in the game? Quite possibly both, but I still credit Morrison with being able to ratchet up the satisfaction level when it comes to that crucial “A-ha!” moment. Speaking of satisfaction, there’s a great deal involved when a story really feels like it has been building up for some time as this one has—it’s what makes good long-form television a success—not to mention when a truly great bad guy finally gets what’s coming to him, and we have both here. I also like that everybody from Dick Grayson to Damien to Commissioner Gordon to the freaking Joker—Frazer Irving’s Joker is so creepy!—and of course Bruce Wayne gets a nice spotlight without it feeling overloaded. Honestly, I feel like if you haven’t been reading Batman the past couple years, you’ll get a nice filling adventure here and if you want to sample the rest, it’s there for you, plus the set-up to the next intriguing age.

BATMAN BEYOND: HUSH BEYOND
Of all the comics I was expecting to dig in 2010, I can certainly say Batman Beyond was not high on that list, but here we are. I never watched the cartoon regularly, but the Return of the Joker movie and the characters being featured on Justice League Unlimited a couple times was enough to endear them to me. Adam Beechen did a nice job with this series of immersing you immediately in the odd but familiar world of future Gotham and mining the Bruce Wayne-Terry McGinnis dynamic for its inherent strengths. I found myself caught up in the Hush mystery—though a bit let down by the “big reveal”—and enjoying the new additions to the Beyond canon like aged Dick Grayson and Catwoman Beyond; good primer for what I hope will be a nice ongoing.

THE BOYS: THE INNOCENTS
Tough choice between this one and The Self-Preservation Society in terms of my Boys pick for 2010, as the latter had some rad standalone origin stories, but the actual action arc didn’t do so much for me, whereas both arcs contained in The Innocents are just wrenching. The story the book is named for sees Hughie going undercover in a Legion of Substitute Heroes pastiche and the way Garth Ennis handles bonafide good guys who want to be super heroes in the horribly corrupt world of The Boys is both a little heartwarming and massively heartbreaking, plus Butcher gets a kick ass moment in the midst of being a prick. The second story, Believe, is a heartbreaker, as Hughie finally learns the truth about Annie and amidst the jokes and violence is the moment we’ve been anticipating/dreading played with almost depressingly real emotion and heart. Definitely missing Darick Robertson’s art, but Russ Braun has stepped up admirably. If you think The Boys is just about shock storytelling, I’ll say as I do every year that you’re missing out.

DAYTRIPPER
I’ve said so much about how incredible I think Daytripper is this past year and I stand by all of it, so I’ll save me and you some time by linking to those thoughts and just reiterating that this is one of the most gorgeous, moving and poignant stories I’ve read in some time that I’d recommend to anybody, comics fan or no.

DOOMWAR
Jonathan Maberry and Scot Eaton’s Black Panther(s and friends) versus Doctor Doom mini-epic hit a sweet spot in my fan nerve that craves unfettered, old-fashioned “good guys fighting bad guys” stories with a dash of social relevance, but more importantly a heaping helping of outlandish action and the kinds of crazy chess moves you don’t see anywhere else but comics. Maberry wrote one of my favorite takes on Doom in years, doing justice to one of Marvel’s most complex and powerful villains while not cheaping out on the megalomaniacal speeches and insane plans. On the flipside, the T’Challa of this story is great in his role as the good guy who’s not so much a hero but rather a politician and master strategist, willing to engage Doom in a way few others have and go way outside the box. Eaton’s art is a perfect fit for the type of fun you get when you pit the X-Men, Fantastic Four, Deadpool, War Machine, etc. against an army of Vibranium-enhanced Doombots.

EX MACHINA: TERM LIMITS
It may have taken a little while to get there, but the conclusion of Brian K. Vaughan and Tony Harris’ multi-years mash-up of politics and super-heroics was worth the wait—not too surprising since BKV is one of the strongest finishers in comics. The final multi-part story was smart, harsh and unrelenting, with a great mix of intelligent social commentary and science fiction action with an added element of unworldly unease; in short, it was a good snapshot of everything that made Ex Machina what it was. The final issue, however, was really something, from the pay-offs to the shocking moments to the lengths BKV didn’t mind going to with Mitchell Hundred’s character right down to the ending I did not see coming but smiled and nodded “of course” to as soon as I turned that last page.

FABLES: ROSE RED
I love when Fables flashes back to tales of the Homelands, breaking away from the ongoing narrative and allowing Bill Willingham and Mark Buckingham to switch up storytelling styles, and this year’s “secret origin” of Rose Red was a fun, impactful story that made nice use of the concept’s central conceit—fairy tales twisted and refined with modern conventions and humor—to catapult a great character towards her next phase. That aside, this collection also contains the momentous 100-page 100th issue of the book, a true triumph for the creators with an awesome flat-out fight with Mister Dark—one of the creepiest villains in all of comics right now for my money—and the culmination of several simmering plots even as new ones begin. I’ll be interested to see how many of #100’s extras make the trade, but even just the main stuff alone is gold.

THE FLASH: THE DASTARDLY DEATH OF THE ROGUES
Geoff Johns and Francis Manapul’s first arc on the “reborn” Flash accomplished something I thought nigh-impossible: It made this diehard Wally West fanatic at least warm up to the idea of stories starring Barry Allen as the Fastest Man Alive. Don’t get me wrong, I still have my hang-ups as far as Barry being a bit bland and believe Wally has way more of an upside, but Johns the exaggerated Silver Age nobility of his lead and makes it work with a tale that takes the best characteristics of that era of storytelling—the boundless enthusiasm, that no concept is too over-the-top—and marries them to his modern bag of characterization and pacing tricks for a satisfying ride. The metaphors about speed or timeliness would usually make me groan—and they still do sometimes—but they work here as they would nowhere else. Johns also still writes the Rogues as among the best villains/supporting cast around and Manapul’s energy is palpable.

FRAGGLE ROCK VOLUME 1
Just as The Muppet Show did last year, Archaia’s anthology of stories inspired by Jim Henson’s Fraggle Rock took hold of a beloved memory from my childhood and pulled it into the present in a way I fully enjoyed as an adult. No question Fraggle Rock is perhaps the weirdest of Henson’s weird concepts—Dark Crystal aside—but the creators who worked on this book were able to grasp this quirkiness and use the mythology to build neat tableaus to entertain readers of all ages that showcased all the unique characters and settings available; great fun, hoping for more.

JUSTICE LEAGUE: GENERATION LOST VOL. 1
The DC Universe’s true outsiders finally found a place I think they’ll be comfortable for some time to come, and I think Judd Winick is doing some of his best writing in years in the process. I’ve said this before, but it’s always seemed a shame that while the Justice League International characters are likable and well-realized, they haven’t worked beyond humor and nostalgia guest shots in awhile; by putting a chip on their shoulder without hardening them too much and giving them a legitimate threat only they can stop in Maxwell Lord, Winick has done wonders and created an intriguing little mystery that’s funny and really explores the characters. Add in solid artwork from pros like Aaron Lopresti and Joe Bennett and this was my pleasant surprise of the year.

SCOTT PILGRIM’S FINEST HOUR
Certainly Bryan Lee O’Malley had a self-imposed series of hard acts to follow in crafting the finale to his Scott Pilgrim opus not to mention a high exposure movie to run up against, but I was really satisfied with Finest Hour and think the man deserves a hearty “job well done” both for this volume and the larger work he created. Perhaps better than any other chapter of the Scott Pilgrim story, Finest Hour gives equal service to the underpinning emotional coming of age story and the crazy video game action world, with the first portions of the book feeling about as real as it gets in terms of Scott coming to grips with his own past actions and then the finale being the most balls crazy final fight you could ask for. I don’t want to get too far into analyzing the nitty gritty as finer minds than mine have already done so, but I closed this book feeling satisfied and look forward to cracking it back open in the future.

SPIDER-MAN: THE GAUNTLET – LIZARD
I’m certainly not the first person to say Zeb Wells and Chris Bachalo realized a horrifying potential never before reached in perennial Spider-Man nemesis The Lizard with their story “Shed,” but I won’t disagree with it. The Lizard has always been an interesting character as far as the tried and true but evergreen trope of his alter ego Curt Conners being the unwitting vessel for a monster not to mention one of Peter Parker’s few loyal allies, but Wells didn’t fall back on that as a crutch, instead really tossing the human to the wind and embracing what a primal tale of terror you can tell with an antagonist who is nothing but animal savagery unleashed. “Shed” is frankly uncomfortable to read, but that’s what sets it apart and gives Lizard new life as a bad guy whose appearance is cause for genuine unease. Bachalo—aided by Emma Rios—is the perfect choice to lose himself in depicting a world completely off balance with the evolutionary scale tipped way out of whack.

SPIDER-MAN: GRIM HUNT
For the better part of a year, the creators and editors responsible for Amazing Spider-Man have been setting up the dominoes of juicing up Spidey’s villains while simultaneously weaving a larger story in the background involving the Kraven family. Joe Kelly had the tough task of knocking those dominoes down while also crafting a story that would overturn part of Kraven’s Last Hunt, one of the best Spider-Man stories ever—so no small task, but as he generally does, this writer rose to the occasion in my opinion. The tone of Grim Hunt shifts organically from Spider-Man going about his business in that usual cavalier manner to our hero experiencing anxiety and rage the likes of which he perhaps hadn’t since his last encounter with Kraven, and in that mood shift, Kelly really does something neat while also placing this arc right in line with Last Hunt and earning the connection. It’s a full-on saga that features a full range of heroes and villains as well as seemingly multiple incarnations of Spider-Man, a tricky return for a great character that works, a heavy emotional payload and perfectly gritty art by Michael Lark that just looks pretty.

MARVEL ADVENTURES BLACK WIDOW AND THE AVENGERS
I love Paul Tobin’s Marvel Adventures Super Heroes for the fun, funny, well-crafted stories featured month in and out in wonderfully bite-size portions, but also because it has honestly one of the coolest Avengers line-ups you’ll find anywhere: Captain America, Iron Man, Thor, The Invisible Woman, The Black Widow, The Vision, and, of course, Nova. Tobin is a master at meshing these disparate personalities for maximum entertainment as he cues up action and adventure for his artists to bring to life. This volume features the birth of the new team plus battles against such oddball foes as Diablo, Plant Man and The Silver Surfer; it’s extremely different from just about anything else out there today and if you’re looking for a consistent monthly smile, you can’t do much better, beginning here.

RETURN OF THE DAPPER MEN
No favoritism necessary for me to proclaim my buddy Jim McCann’s amazing original graphic novel from Archaia to be one of the best things I’ve read this year, because the work quite frankly backs it up. Jim imagines one of the kookiest and most intriguing new worlds I’ve had the pleasure to explore in years with his land of children and robots lacking in adults and the conventions they bring until the descent of the Dapper Men from the title. But as good as Jim’s story is—and it’s really good—I know he’d agree this would not have been the same without the sensational artwork of Janet Lee, whose eye-catching work blew my mind not to mention impressed the heck out of my mother, a full-time watercolor artist, showing how transcendent it is. I don’t feel it’s any exaggeration to say Jim and Janet have created a fairy tale for the modern age destined to be a classic.

SECRET WARRIORS: LAST RIDE OF THE HOWLING COMMANDOS
I often overlook when a new issue of Secret Warriors is coming out as it’s a real under the radar book for me, though I do tend to enjoy it; I think part of that is that Jonathan Hickman has made no bones that he’s laying out a finite tapestry here, so it’s designed more to be read as a complete work down the line rather than having standout single stories. That said, Last Ride of the Howling Commandos was a real neat little arc dropped into the middle of this year, with a bit of a break from the byzantine big picture to focus in on Nick Fury’s war-time buddies in a split story between a sentimental little guest spot from Steve Rogers and a blistering climactic campaign from the old warhorses. With character depth and considerable scope, this was Secret Warriors at its best.

THE THANOS IMPERATIVE
Dan Abnett and Andy Lanning brought their chronicles of the Marvel cosmic universe to a major head this year, paying off the Nova and Guardians of the Galaxy ongoings with a suitably epic event that returned one of the best villains around in Thanos to prominence, provided memorable geek out moments like the rise of the “Cosmic Avengers,” and featured major sacrifices to really hammer home what a big deal this all was. Nobody does this stuff quite like DnA, and it will come as no surprise to anybody who knows me and my proclivities that I enjoyed the heck out of this and saw it as a worthy bookend to Keith Giffen’s Annihilation, which it referenced more than once. Up against a neat and imaginative threat like the “Cancerverse” and its corrupt champions, the cosmic heroes shined as DnA along with Miguel Sepulveda showed why the best good guys in the galaxy don’t necessarily live on Earth.

THOR: THE MIGHTY AVENGER: THE GOD WHO FELL TO EARTH
I think me and the rest of the Internet have said about all we can say at this point about how great Thor: The Mighty Avenger is, but if by some chance you still haven’t given it a shot, well, you’re nuts. Whether you know Thor or don’t, whether you even like comics or not, this is a book that can show you why both are great and why we have a really neat way of telling stories over here, Roger Langridge’s tale of a man struggling to rediscover his home and finding a new one along the way is one that can resonate to anybody and Chris Samnee’s heartfelt and playful art only sweetens the pot. Grab this first volume and you will for sure be back for more.

ULTIMATE COMICS SPIDER-MAN: CHAMELEONS
Probably my favorite ongoing super hero comic of them all right now, Ultimate Comics Spider-Man had another strong year as Brian Michael Bendis continued to mine the brilliant idea of Aunt May having a “super hero halfway house” where Spider-Man, The Human Torch, Iceman and Gwen Stacy live while Kitty Pryde and Mary Jane show up to hang out for all its worth and then some. No book does soap opera better, and devotee of teen drama that I am, I eat this up like it’s ice cream laced with crack. There was also actual action aplenty, be it the boys trying to train the wildly out of control Rick Jones—who may or may not be Ultimate Nova—to use his powers of the Chameleon siblings taking over Peter Parker’s life, but the real meat is the quiet emotional stuff, be it the fears of a teenager who now has the power of a god or how a nasty shapeshifter can really ruin your life if they don’t care. This series seemingly doesn’t know how to lose momentum and I applaud Bendis and his talented artists for constantly reinventing it to ensure it never will.

Good for you, Christos Gage!

I first “met” Christos Gage via e-mail not long after I began at Wizard in 2004. If I recall correctly, it was to get a few quotes on the Deadshot limited series he was writing, his first major work in the industry. Even back in those comics-heavy days of the magazine, a “mid-level” project like Deadshot wouldn’t necessarily automatically garner even a quick blurb, but I believe Chris’ experience as a screenwriter, most prominently on Law and Order: Special Victims Unit, helped give it a bit more cache.

I was enthusiastic about the project as I’d gotten a crash course in the Suicide Squad and Deadshot hard and fast off the recommendation of Geoff Johns and still riding the John Ostrander buzz. I didn’t know what to expect from Chris (I should note I’ve never called him Christos except for like our first two e-mail exchanges and in print when I have to), as I’d dealt with relatively few creators at this point and none from the “Hollywood” side of the equation.

As it turned out, Chris couldn’t be further from a “Hollywood guy” and more of a dyed in the wool comic book fanatic; he was far more nervous, anxious and excited about getting to write a character he grew up with than how his episodes of SVU would do. We had a very nice back-and-forth beyond me getting what I needed for the piece, talking comics in general, Suicide Squad in specific, and also bonding a bit over both being relative newbies to the crazy world of the professional comic book industry. Chris’ would be one of the first names entered into my fledgling rolodex and we’d frequently drop each other a line to say what’s up or ask the other’s opinion over the latest developments at Marvel or DC.


Also, Deadshot turned out to be pretty darn good, I daresay the flashpoint for the revival of the character over the last half decade, so I wasn’t just hitching my wagon to a hack here.

My role at Wizard in the burgeoning Internet age of course put me in the now familiar to most position of getting to know many creators via e-mail and the occasional phone chat long before I met them in person. I wouldn’t actually encounter Chris face-to-face until early 2006 during my infamous one-man assault on WonderCon for a 52 creative summit, where the deadly combo of fried sushi, Geoff Johns-prescribed Red Bull and vodkas and Mark Waid regaling me with tales of his “paycheck days” on Spider-Man Team-Up got me about as ill as I’d ever been—but I digress.

I believe Chris actually cornered me rather than vice versa, as he’d seen my face in the Wizard Bullpen features at the back of the magazine whereas I had no idea what he looked like. As much as we’d gotten along over e-mail and the phone, we really hit it off in person, as we share both a boundless enthusiasm for the business we’re in, but perhaps more importantly a dry sarcasm and biting “wit” that would lead many to brand us “jerks,” but instantly drew us together. We also both grew up in Massachusetts, and shared love of the Red Sox/hatred of the Yankees, particularly in those halcyon “we finally won a World Series” days forges a bond like no other.

One night, Chris and I along with a motley crew including the likes of former Wizard-ite Gabe Fieramosco and then-Swamp Thing writer Josh Dysart headed to Chinatown for dinner. After we had both loosened up a bit on appetizers and beers, my buddy told me about how he had a mini-series in the pipeline at Marvel with artist Mike Perkins and was really excited for it. I told him that was rad as I knew he had always dreamed of making it to Marvel and enquired as to the subject matter, which he informed me was Union Jack.


With all due respect to Union Jack superfan Pat McCallum, I admit I went blank-eyed and may have chuckled a moment.

“You’ve never written anything at Marvel before and you’re going to make your first impression with Union Jack? Dude…good luck.”

It was a good-natured joke between friends, as I really was happy for Chris, but it wouldn’t have been us if I hadn’t given him a hard time. He laughed along with me while no doubt planning how to spike my drink with Visine or something.

Union Jack would legitimately end up being not only one of my favorite books of 2006, but the series that made Chris as a legitimate rising star in comics, pretty much writing his ticket as far as being a guy who could spin gold with a perceived “B-list” character and thus had tremendous versatility as a writer.

Needless to say, I’ve rarely been so happy to be proven wrong (even if he never lets me forget it).


Chris’ career really took off from there. His Stormwatch: PHD was in my humble opinion the crown jewel of the ballyhooed WildStorm re-launch of 2006 and probably overdue an Underrated/Overlooked from me (though I could probably do a whole Chris Gage special). And his World War Hulk: X-Men mini wasn’t just great fun, it was further evidence that this really is a guy who had never stopped being a fan, as he was never shy about telling anybody who would listen “I’ve wanted to write a Hulk vs Juggernaut fight all my life, so I did, and it was awesome.”

As the guy who got to write skip month one-shots for Warren Ellis’ Thunderbolts and eventually became co-writer with Dan Slott on Avengers: The Initiative (before taking the book over himself), Chris got to hobnob creatively with some pretty big names, but never forgot about his pal Ben, during my final Wizard days or when I started at Marvel.com. He got to meet my then-girlfriend Megan for the first time at the 2007 New York Comic Con and was uncharacteristically gracious, and we exchange holiday cards with him and his wife Ruth every year.

Earlier this year, Chris and another fine gentleman, Mike McKone, kicked off Avengers Academy, Mr. Gage’s highest profile series to date, and one I’ve already come out in favor of. With the early success of the book, Marvel finally went and made it official, “putting a ring on it” and signing Christos Gage exclusive. It’s been a long time coming, but the guy has earned it, and nobody’s happier than me.


We had Chris on Marvel.com Live last weekend during New York Comic Con following the announcement and we were both grinning as we talked about how far he’d come (in an interview you all will be able to see for yourselves soon).

Of course he also took the opportunity to tell the world, “Ben never believed in me and told me that Union Jack was going to fail four years ago.” I copped to it but said, “Well, we were friends, so I was just goofing around,” to which he zinged me back with “Well, you thought we were friends.”

Ouch. Receipt acknowledged.

Snarkiness aside, congrats again, my friend, you have certainly earned it and I’m excited to see what you do next.