Deadly Hands of Kung Fu #32
Larger than life and in living black & white, this issue brings us a Daughters of the Dragon story, with Misty Knight and Colleen Wing hunting a drug dealer through the grim alleys of Hong Kong. It’s languid and wordy in vintage Chris Claremont style, with art from a wet-behind-the-ears Marshall Rogers, when his design skills were still out in front of his drawing ability. There’s plenty of punching and kicking, and some shout-outs to contemporary Iron Fist continuity. It rumbles along like a 70s martial arts movie, and its hard not to hear the wah-wah guitars and güiros as you read.
The tale has a forced bit of cheesecake, as Collen and Misty’s outfits disintegrate while they run a gauntlet of kung fu thugs. I expect this was an attempt to sex things up for a non-code black & white book, but it didn’t age well, and I’d pay a dollar to learn if it originated with Claremont, Rogers, or Marvel editorial. The tale concludes with our ladies knocked out and fished from the ocean, doubtless with some terrible doom in the offing. Maybe we’ll find out next issue. The only black and white I was reading in 1977 was Savage Sword of Conan so I can’t even rely on memory for how this ultimately comes out.
- Script: Chris Claremont
- Art: Marshall Rogers
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I’ve already blogged about my affection for Bruce Lee, and how Marvel jumped on the martial arts craze of the early 1970s with books like Master of Kung Fu. While Shang-Chi was unquestionably Marvel’s most successful and longest-running martial arts character, there is a second hero from that era that remains at least somewhat well-known today. Less ambitious than Master of Kung Fu, with more emphasis on action and traditional comic book superheroics, Iron Fist was Marvel’s “other” kung fu book of the era, and despite its relatively short run the series offered several superior issues, and the character of Iron Fist (in various guises) has persisted into the present era — and come 2015, he’ll even be a television star! The book was also notable for the first Marvel Comics work of John Byrne, who would partner with Chris Claremont on the book before the two went on to make history together with X-Men (by way of Star Lord!)
Iron Fist debuted in the pages of 1974’s Marvel Premiere #15, an origin tale from Roy Thomas and Gil Kane that is a a mixed cocktail of borrowed tropes (with a savage chaser). We first meet Danny Rand — the future Iron Fist — as a child, trudging through Himalayan snows with his mother, his father, and his father’s evil business partner, looking for the fabled city of K’un Lun, a kind of Shangri-La that opens to the outside world only once per decade. In short order, Danny’s father is kicked off a cliff by his partner (evil, remember?), cartwheeling and ragdolling off the rocks while young Danny looks on … and then if that wasn’t enough, after Danny and his mother are abandoned to die, Danny gets to watch his mom torn apart by starving wolves before he is rescued by the warrior monks of K’un Lun.
It’s enough to make you yearn for a benign origin, like watching your parents gunned down in a Gotham City alley, but this trauma is put to good use, as Danny is adopted into the mystical city of K’un Lun, and montages into a vengeance-fueled martial arts master, eventually wrestling a dragon to the ground to steal the power of its heart, and refusing the gift of immortality to leave the city on a mission of vengeance when the gates reopen a decade later.
The book had a carousel of creative teams, as was often the case with 1970s Marvel series. Roy Thomas and Gil Kane were aboard only for the first issue (though Kane would do several striking covers for the series), and caretaker writer Len Wein quickly yielded to Master of Kung Fu scribe Doug Moench, who turned in a couple action-packed issues with the artistic team of Larry Hama and Dick Giordano that saw Iron Fist fight his way to the top of a skyscraper deathtrap, seeking revenge for his father’s death.
After Moench, Tony Isabella more-or-less held serve for several issues (most notable for introducing Colleen Wing and Misty Knight, who would loom large as this series matured), but the art took a substantial step backwards under Arvell Jones, and Iron Fist might have been bound for untimely cancellation …
… were it not for the arrival of Chris Claremont in Marvel Premiere #23, and, two issues later, the debut of John Byrne, marking the beginning of one of the great teams in comics history, and a definite upswing in Iron Fist’s fortunes. It takes a couple issues for Byrne to really get his mojo going (and the shift to Frank Chiarmonte’s inks from Al McWilliams didn’t hurt, though Byrne would fully arrive under Dan Adkins’ brush), but Claremont hits this series like a Double Leopard Paw Blow from the get-go, deepening the book’s characterization by giving Danny a personality (somehow overlooked to this point), and expanding and enhancing the strip’s supporting cast.
Most startling is the transformation of Colleen Wing, going from an extra in a kung fu movie to a Third Dan Black Belt who can (almost) hold her own sparring with Iron Fist, and definitely scores a knockout lecturing Danny on the strengths of the “weaker” sex. By the time Danny invades the fortress of Jera’ad Al-Din in Iron Fist #6, springing Collen from captivity, it is unclear who is rescuing who.
Claremont was known for writing strong female characters in Ms. Marvel and X-Men, and he is no different here, both with Wing and her erstwhile parter, Misty Knight, who cuts a forceful and foxy figure, providing instant direction for Danny’s aimless heroics, and rocking a groovy “MK” belt buckle with a quasi-superhero outfit that shows the creative team didn’t know quite what do do with her.
But that would change, as Misty Knight quickly evolved into one of the strongest “supporting actresses” in the Marvel line, both figuratively and literally. With her mysterious bionic arm, Misty is outwardly powerful but secretly traumatized by the loss of her limb.
With Colleen offstage, Misty proves Danny’s adventurous equal, and even tells our hero to get stuffed, walking out on him as Claremont plants the seeds for their eventual romance. In this transformation of stock characters — Misty, Colleen, even Danny — into compelling and multi-dimensional heroes, Claremont proves himself one of the most talented scribes of his era.
Claremont also gives Danny a zest for life (even a bit of a sense of humor), and promises future possibilities (never realized in this run) when he makes Danny the heir to his father’s fortune. Even K’un Lun gets a makeover, transformed from a generic lost paradise into a nest of intrigue, greed, and envy, where Danny was an orphan and an outsider, resented by the other students for his gifts and presumed arrogance in seeking the Heart of the Dragon.
some joyful Iron Fist action, with the book’s creative team getting a cameo as the innocent bystanders
It is a heady transformation — in just a handful of issues, Claremont and Byrne pivot Iron Fist from another short-lived Marvel exploitation book and build a franchise. Unfortunately, the book never got traction with readers, and I remember its cancellation as one of cruelest I suffered as a young comics reader. Marvel would keep the character alive by splicing him into the re-named Power Man And Iron Fist, but first Byrne and then later Claremont would depart for mutant pastures, and the rich promise of Iron Fist would fall to other creators to realize.
It was fun while it lasted. The first several Marvel Premiere stories are uneven but the Claremont books constitute a minor classic, and are available on the back issue market for reasonable prices (aside from the first appearance of Sabertooth in issue #14). Apart from Wolfman and Colan on Tomb of Dracula, and Thomas and Buscema on Conan, few teams stuck together for long at 1970s Marvel, so it was always a matter of when (not if) the A-team Byrne and Claremont would depart the B-list Iron Fist … but there is such skill and joy in this brief run that the book can’t help but seem a path not taken. We know Claremont and Byrne would work mutant magic with X-Men. I would dearly love to have seen where they took Iron Fist.
it was played for laughs, but Iron Fist held his own against the X-Men (for awhile)
The book had its idiosyncrasies, particularly as it found its footing, most memorable of which was the second-person narrative captioning style introduced by Roy Thomas in the character’s first appearance, and then adopted by following writers as a kind of holy writ (though it was eventually de-emphasized by Claremont). The style gave the book a distinctive voice, but could prove cumbersome and distracting, and I expect it drove Iron Fist’s writers batty.
Imagine if I wrote Longbox Graveyard in second person!
With trepidation and some self-loathing, you click on Longbox Graveyard. Will there be a new feature today? A new headline stalks into view. But you are cautious, Young Dragon. You have been burned before … by senseless “Panel Galleries” and regurgitated Pinterest links. Your breath quickens as you remember clicking on that “Top Ten Marvel Comics Characters” link every time you saw it on Twitter, forgetting that it was the same damn article every time. Every sense alert, you mouse-wheel down, revealing the garishly-attired green-and-yellow form of Iron Fist. You try to read the article as fast as possible, skipping the text and lingering on the art. A link appears — but does it promise enlightenment, or just a recursive visit to a Longbox Graveyard article of years past? Still your soul, exhale, and click …
Let’s clear the palette with another John Byrne action page!
There’s also an early over-reliance on providing each of Iron Fist’s attacks with an exotic-sounding name, perhaps as an attempt to spice up lackluster action art. I half suspect early Iron Fist writers were working from one of the innumerable martial arts manuals hawked on pages of early 70s Marvel books. In his many battles over this two-dozen issue run, Iron Fist employs the …
… Monkey Blow, Rock-Smash Blow, Lightning Kick, Cat Stance, Sword Hand, Ram’s Head Blow, Elephant Kick, Dragon Stamp Kick, Blow of the Hammer, Locking Block, Bear Thrust, Double-Circular Block, Upward Sweep, Reverse Smash, Horse Stance, Spinning Whip Kick, Flying Roundhouse, Leaping Deer Block, Cross-Arm Throw, Boulder Block, Swing Throw, Crane Stance, Crescent Kick, Leopard Paw Blow, Reverse Throw, Passive Stance, Double Monkey Blow, Tiger Claw Blow, Scorpion Blow, Ram’s High Kick, Dragon Kick, Thunder Punch, Reverse Shoulder Throw, Heel Palm Thrust, Thunder Kick, Double Sword Hand, Two-Handed Throw, Side Kick, High Line Block, Shoulder Toss, Double Dragon Kick, Inverted Fist Strike, sundry miscellaneous “blows” and “smashes” …
… and a good, old-fashioned right cross, which we’re told Danny remembers from watching television as a child!
But what of Danny’s finishing move — his eponymous “Iron Fist” attack? This attack is more rarely seen.
How rare? I’m glad you asked!
- Marvel Premiere #15: Knocks the head off of robot Shu-Hu.
- Marvel Premiere #16: Destroys Scythe’s … uh … scythe.
- Marvel Premiere #17: Punches through an elevator door!
- Marvel Premiere #20: Haven’t seen it in awhile, so Danny uses it twice — first against Batroc, then against Batroc’s whole “Brigade!”
- Marvel Premiere #22: Destroys the Ninja’s flaming sword.
- Marvel Premiere #23: Knocks Warhawk clear through a wall, and into the river.
- Marvel Premiere #24: Wrecks a car (which, to be fair, Danny thought was a dragon!)
- Iron Fist #1: Knocks Iron Man on his ass (for a moment).
- Iron Fist #2: Thumps Sssesthugar The H’ylthri (don’t ask).
- Iron Fist #3: Breaks open the chest plate of Radion, the Atomic Man, indirectly blowing up London’s General Post Office Tower!
- Iron Fist #4: Danny heals himself with the power of the Iron Fist, as Chris Claremont expands our hero’s bag of tricks.
- Iron Fist #5: Clear through a wall after punching at Scimitar (and missing).
- Iron Fist #6: Used to “mind meld” with Colleen Wing (!)
- Iron Fist #9: Punched through another wall, and also through Chaka (or a guy wearing his pajamas); also used to heal.
- Iron Fist #10: Takes out Chaka’s weapon, a curiously-familiar “triple-iron.”
- Iron Fist #11: Danny jumps up to Asgardian class, getting his butt kicked but also taking out Thunderball and the Wrecker’s weapons.
- Iron Fist #12: Punches Captain America’s shield (SHKOW!), then gives the coup de grâce to the Wrecker.
That’s a pretty impressive dance card for a second-string chop-sockey hero in green-and-yellow pajamas! Iron Fist has proven a surprisingly resilient concept, revisited by Ed Brubaker and Matt Fraction in 2006’s Immortal Iron Fist (and a new series is on the way), and even as a callow teen hero in the Ultimate Spider-Man animated series. But this original vintage Iron Fist still packs a kick, even after all these years, and this brief run (especially the Claremont/Byrne era) receives my enthusiastic recommendation.
- Title: Iron Fist
- Published By: Marvel Comics, 1974-1977
- Issues Preserved In The Longbox Graveyard: Marvel Premiere #15-25, Iron Fist #1-15, May 1974-September 1977.
- LBG Letter Grade For This Run: B
- Read The Reprint: Marvel Masterworks Iron Fist
IN TWO WEEKS: #122 Panel Gallery: It’s Clobberin’ Time!
Ready or not, it’s time for more Master of Kung Fu!
Fresh off his “Snowbuster” mission (reviewed at Longbox Graveyard last month) Issue #33 sees Shang-Chi arriving in London, and things get real weird, real fast, with our heroes attacked by a mechanical man on the steps of Victoria Station, followed by a bit of rapid-fire exposition revealing that the attack was the work of Mordillo — a “ruthlessly professional assassin whose only patriotism is devoted to money.”
A stranger to London, MI-6 has thoughtfully provided Shang-Chi with a luxury flat, complete with shag rug, hot and cold running water, and (because we are still in a James Bond spy world here) a beautiful woman in the bath tub.
But this isn’t just a disposable Bond girl — this is Leiko Wu, destined to become Shang-Chi’s love interest and a major supporting player in Master of Kung Fu — making her first appearance.
It’s not her finest moment.
In time, Leiko would develop into one of the stronger female characters in comics, but in Master of Kung Fu #33 she’s cast as the mysterious temptress, who is admirably unselfconscious about her body, but still …
… while she may have been comfortable lounging around naked in front of her ex-lover, Clive Reston, it’s harder to fathom what was going through her head by awaiting the stranger, Shang-Chi, in his tub. But we’re talking about a 1970s martial arts comic here, and one that is still trying on its spy-movie tropes, so the whipsnap speed of these developments can be excused, and it is undeniably effective storytelling. We aren’t eight pages into this tale and already Shang-Chi’s clobbered a robot and walked into a love triangle between Leiko and his pal Reston. Hyaaahh!
The tale continues with a bit of too-clever-for-its-own-good exposition developing the mysterious Mordillo’s fiendish plot, leading to some foot and fist action at London’s Tower Bridge …
… but make no mistake, this three-parter is Leiko’s story, and it doesn’t do a lot to cast her in a favorable light. We’ve already seen her lounging around in a strange man’s bathtub, and toying with Reston’s heart by “innocently” asking him to hand her a towel, but Leiko hits for the cycle when we learn that her current lover — Simon Bretnor — is actually the villainous Mordello, who has kidnapped Leiko and carried her away to his surrealistic secret island base!
All right, to recap for those of you scoring Leiko’s scoring by scoring along at home, in the course of a single issue we’ve met a naked Leiko Wu, seen her cast Reston aside like a used match, and watched her melt the resolutely monastic Shang-Chi with her come-hither ways even as she was already in a relationship with a charming sociopath secretly determined to menace the world with a flying solar death platform!
Not a red letter introduction for Leiko, but she recovers her dignity in Issue #34, showing Kung Fu moves of her own in putting a beat-down on Mordillo (nee Bretnor).
But Leiko’s revenge is fleeting, and she’s shortly an unwilling dinner guest on Mordillo’s mad amusement park of an island, where our villain quickly departs from the suave Bond master villain archetype by showing he’s genuinely gone around the bend …
… and while Mordillo’s freak-out serves to tell us about of his fiendish plan, it’s really Leiko who is the victim here. Of course Mordillo isn’t going to get away with his crazy plot to build a death ray for the Chinese (for a Doctor Evil-like sum of one million dollars) but the emotional damage to Leiko is real. That she was so thoroughly taken in by Mordillo is genuinely humiliating and creepy.
I’ve searched in vain for the inspiration for Mordillo, and his strange robot/toy manservant, Brynocki. Their names seem like anagrams but resist unscrambling. There was a South American cartoonist named Mordillo who was popular in the 1970s but I see no similarities there. Mordillo and Brynocki remind a bit of Mr. Roarke and Tattoo from Fantasy Island, but these books were published a full two years before that series debuted on American television. This site site makes an argument that Mordillo is based on Christopher Lee’s character from the 1974 James Bond film, The Man With The Golden Gun (which also featured Hervé Villechaize in a role similar to the Tattoo character he would play on Fantasy Island), but it is all a bit of a swirl and there’s nothing definitive here.
Probably we’re down to in-jokes and lack of sleep for our villains’ inspiration, who are memorable here but not especially great Master of Kung Fu bad guys. That Mordillo’s Island is characterized by amusement park sets and robots run amok reads better than it plays, with the visual opportunities provided by talking steam engines and homicidal wind-up soldiers seeming more ridiculous than sinister.
Things pick up a bit in Issue #35’s conclusion to this three-part tale, highlighted by the return of Pavane, last seen palling around with Carlton Velcro back in Issue #31, and if her appearance makes little sense, it does provide some welcome continuity with a previous story.
Plus, she’s hot and she has a whip, which excuses a lot.
Unfortunately, all this set-up and standing around cuts into the action, as pages of plot and scene-setting pushes our hero to the margins for much of this story. Shang-Chi’s action opportunities are limited and not especially strong, though he does finally get to confront our villain, and touch on what will prove to be a continuing theme of Master of Kung Fu — that Shang-Chi is a pawn in some larger, immoral game, and possibly a traitor to his heritage by doing MI-6’s dirty work.
And it for a moment it seems that the themes of love, betrayal, and identity are going to come together in an epic cat fight between Pavane and Leiko, too.
But again, it’s a lot of set-up without a lot of payoff, as our climatic Kung Fu battle is packed into a single less-than-stellar page, before Shang-Chi has to start leaping around to destroy Mordillo’s death ray (which admittedly does come to a satisfying visual climax).
And so we leave Mordillo’s Island with a strong sense of “what the heck just happened?” but also with a couple important Master of Kung Fu milestones behind us, having met Leiko Wu (and established her triangle with Shang-Chi and Reston), and also seeing our hero being asked to take a hard look at his handlers’ motivations. It is a mixed bag, and a step back from their “Snowbuster” series, but it is still a Doug Moench/Paul Gulacy Master of Kung Fu story, and that makes it special all by itself. If this “Mordillo’s Island” arc is a failure, then at least it is an interesting failure … and if nothing else, it has robot toy man servants. And girls with whips. And naked girls in bathtubs.
I think I’m going to go read it again!
- Title: Master of Kung Fu
- Published By: Marvel Comics, 1974-83
- Issues Rescued From The Longbox Graveyard: #33-35, October-December 1975
- LBG Letter Grade For This Run: B-minus
- Own The Back Issues: MyComicShop.com
NEXT WEDNESDAY: #75 Panel Gallery: Button Men