Men Sculpted into Monsters

Master of Kung Fu #110 (Marvel, March 1982, 60 cents)
"Perilous Reign" Script/Plot: Doug Moench, Pencils/Plot: Gene Day, Inker: Jack Abel, Letterer: Jim Novak, Colorist: C. Scheele, Editor: Ralph Macchio, Editor in Chief: Jim Shooter.

During a rain storm at Nayland Smith's Stormhaven Castle in England, Shang-Chi and Leiko Wu spar in more ways than one. Smith, Soviet defector Mia Lessing (the Dark Angel blurbed at the end of #106; #107-109 might contain her introductory story arc) discuss a new threat with Black Jack Tarr and Clive Reston. A Russian trained in the Chinese martial art style Naked Kill called the Ghost Maker plans to procure "a new and extremely deadly weapon" from a secret base in the Sussex moors. While Mia and Clive engage in some hanky panky, Shang-Chi, Leiko, and Black Jack aim to stop him.

This issue is dense in text; Moench's story expounds on balancing Eastern and Western philosophies, respecting your fully by fully engaging with them when you spend time together, the Ghost Maker's back story, as well as his motivations. But it works. It is exactly the right amount of tet.

Day's artwork and page design—inked by Jack Abel—accommodates the writing well. In addition to the dominant imagery, page anchors, and motion through panels noticed in previous issues, Day also employs book ending to position characters against each other. He also incorporates the yin-yang symbol to further represent duality, borders a panel in blood, and frames a panel in the word "danger." When it rains, it rains hard, and when things go vertical, you can feel the vertiginous heights. Quite innovative!

The lettercol "Missives to the Master" includes another letter from T.M. Maple, as well as a postal service statement of ownership. In September 1981, Marvel printed almost 250,000 copies of that given issue.



Master of Kung Fu #117 (Marvel, October 1982, 60 cents)
"Devil Deeds Done in Darkness" Scripter: Doug Moench, Penciler and Inker: Gene Day, Colorist: Christie Scheele, Letterer: Janice Chang, Editor: Ralph Macchio, Editor in Chief: Jim Shooter.

This issue is a doozy. Not only is Fu Manchu himself prominently featured, but Day's artwork really rocks. Highlights include a two-page spread of an M.C. Escher-like maze of stairs and statues, panels within a panel as Shang-Chi and Death-Dealer plummet in the flooding crypt, and an excellent page in which Shang-Chi navigates additional stairs and encounters three laboratory-spawned creatures, "men sculpted into monsters." Day also book ends a scene change on a two-page spread and throws in a fun ballet form as Dark Angel fights Shang-Chi.

The plot entails Shang-Chi escaping from his father with the help of hungry rats, the destruction of Clive Reston's home, and Nayland Smith's abduction. What a wonderful comic series. I am glad I finally actually read some issues! I will have to read more.

Availability: Master of Kung Fu #110 and #117 are reprinted in Shang-Chi: Master of Kung-Fu Omnibus Vol. 4.

An Entire House of Assassins

Master of Kung Fu #105 (Marvel, October 1981, 50 cents)
"The Razor-Fist Connection" Writer: Doug Moench, Artist: Gene Day, Colors: C. Scheele, Letters: Jim Novak, Editors: Denny O'Neil and Jim Shooter.

The hero of the comic book is one Shang-Chi, son of Dr. Fu Manchu, and the series features supporting characters created by Sax Rohmer, who wrote 13 Fu Manchu novels between 1913 and 1959. This might be the first issue of this series that I've read despite having several in my collection. For some reason, I'd neglected it as a Bruce Lee knockoff and didn't know about the Rohmer connection. That connection is important. This title's pulp fiction lineage mught make it one of the longest-running tie-in or licensed comics, among Conan the Barbarian, Rom, and Star Wars.

The highlight of the issue is Gene Day's artwork. His line is quite fine; he can pack a lot into a panel without making it overly dense. But it is Day's sense of motion that impresses. Be it a person walking around another over the course of several panels, Shang-Chi jumping over a wall or his enemy Razor-Fist in combat, or Razor-Fist's blade slicing through air, Day's artwork is cinematic in style. He also knows how to anchor a page: the reflection of an anguished face, Pavane centered on an explosion, or Juliette sitting in a wicker (rattan?) chair. Day's figures move through the panels, and the panels move through the page.



As for story, Razor-Fist, working for the reportedly dead Carlton Velcro, search for Shen Kuei, Pavane, and Shang-Chi. He leaves Hong Kong for London, where he finds the latter two, as well as Leiko Wu. There are also parallel subplots detailing the background of Velcro and Razor-Fist, and an exchange between former MI-6 operative Nayland Smith and Fah Lo Suee, daughter of Fu Manchu.

The story is solid, even dropping in at #105, and Day's artwork is wonderful. The letter column features a note from T.M. Maple, whose comments are among the best in fan activity.

Master of Kung Fu #106 (Marvel, November 1981, 50 cents)
"The Assassin Master" Writer: Doug Moench, Artist: Gene Day, Inker: Armando Gil, Colorist: C. Scheele, Letter: Jim Novak, Editor: Denny O'Neil, Editor in Chief: Jim Shooter.

Another excellent issue featuring the artwork of Gene Day, this time with Armando Gil inks, a worthy combination.

After questioning Razor-Fist with Pavane, Shang-Chi and Leiko Wu continue to the Marquesas in search of Carlton Velcro's island base, "an entire house of assassins." They reach the mansion and take on Velcro's guards, then face another Razor-Fist (!!!) and Velcro himself, who proves himself a most disappointing employer.

Day's hallmark fluid motion throughout the page and dominant page anchors are wonderful, and the story resolves well.



Availability: Master of Kung Fu #105-106 are reprinted in Shang-Chi: Master of Kung-Fu Omnibus Vol. 4.