MYTHCOMICS: ONE MORE DAY (2007)

 

I quit following any of the SPIDER-MAN books on the 21st century, only occasionally availing myself of the occasional public-library TPB. But I wasn't so isolated that I didn't hear the many complaints about ONE MORE DAY, a storyline which ran in three separate Spider-titles, in which Peter Parker made a deal with The Devil to save Aunt May's life, costing him his happy marriage to the love of his life, Mary Jane.

I also heard that this retcon came about because editor Joe Quesada-- who also furnished the art for DAY-- didn't like the status quo of Peter Parker being married to Mary Jane. Unlike many of DAY's critics, I didn't have strong feelings about the marriage. I found it mildly pleasing that Parker should enjoy a measure of domestic contentment, not least because the post-Silver Age Parker wasn't, in my opinion, ever likely to generate scads of romance-subplots. I doubt the retcon improved the overall quality of Spider-stories based on my spotty readings, and in any case it's rare that any retcons have been instrumental to generating higher story quality. Yet I found that DAY, by itself, found interesting ways of playing with the often-moribund mythology of Spider-Man, particularly in its usage of guilt.

               

The web-slinger's career begins with his guilt over his accidental complicity in his Uncle Ben's death. Now, because Parker revealed his true ID to the world (something to do with the elephantine "Civil War" plotline, I think), the Kingpin sends a gunman to kill Parker but fatally wounds Aunt May. While the old lady barely clings to life, Parker makes the rounds of Marvel's wonder-workers, looking for some means to stave off the Grim Reaper. He explicitly tells Doctor Strange that while he thinks he could accept his aunt's natural death, he can't accept the calamity being his fault. 

I had low expectations for the "deal with the devil" part of the story, given how cliche the trope has become over the years, and perhaps I was influenced by all the negative press DAY received. However, though I've not liked the few comics-stories I've read by J. Michael Sraczinski, his handling of the "Satanic bargain" was the most mythic aspect of DAY.    

Once Parker's at his lowest ebb, he meets a devil's envoy who seems the incarnation of innocence: a sassy little girl who knows all about his problems, critiques him for his narcissism, and runs away.

Spider-Man loses the girl but comes across a young man in glasses. He discourses on the human need for escapism in a world that doesn't allow for personal heroism. Moments later. an older man drives up in a expensive car and takes Spidey for a little ride. He too related a life-story, a life that sounds a bit like Tony Stark's. (Earlier in the sequence, Spider-Man tells Stark that to Parker Stark was "like a father.")  He ends his story--mostly that of petty revenge against the classmates who tormented him in high school-- by emphasizing how he lost the one woman he loved.

 Parker then meets a woman in an old-fashioned dress. They discuss dreams, which gives Parker the chance to reference one of pop culture's most famous retcons. She then informs Parker of a fact most readers will suspect: the two males he met are alternate-world scenarios for ways that Parker could have turned out: Parker as complete nerd and as ruthless businessman. 

All of these discussions are primers for the subject of reality's mutability, at which point the woman reveals that "she" is Mephisto. He quickly disabuses Parker of the idea that he's offering to save Aunt May in exchange for Parker's soul. He brings Mary Jane into the discussion, revealing that he wants both of them to surrender their marriage, just for the purpose of spreading more misery. Mary Jane furthers the deal, ensuring that Spider-Man's identity will once more become secret. And as the last few moments of the Pert-MJ romance count down, Mephisto sticks in the knife: the little girl Parker met was the daughter he and MJ would have had, had they not chosen to save Aunt May. 

Then reality changes. Aunt May was never shot, and Parker never had a romance with Mary Jane Watson, though she continues to exist in his world. The tale ends with Peter at a party, as the partygoers toast Harry Osborn's recovery from trauma as "A Brand New Day"-- which was used for the name of a 2008 Spider-arc. Said arc does not follow up on any of the Spider-myths from ONE MORE DAY, and though both titles were used for the two most recent SPIDER-MAN, neither film is strongly indebted to either comics-arc. Given that I didn't find BRAND NEW DAY to be more than average, I doubt ONE MORE DAY provided any great inspiration for better Spider-Man stories. But clearly, the feature remains popular even without a "Mrs. Spider-Man," so in that respect, all the protestations of MJ fans did nothing to reverse that trend.

NEAR-MYTHS: " PARTS OF THE HOLE," (DAREDEVIL V. 2, #9-15, 2011)

I only reread the introductory sequence for the Marvel character Echo because of the MCU teleseries, to re-familiarize myself with the template.

Back in the day I bought some odd issues of the original sequence, but wasn't exactly inspired to follow the whole story. Some of Joe Quesada's art was nice, but the concept-- principally executed by Quesada and KABUKI writer-artist David Mack, with some fill-in assists from two other raconteurs-- seemed too much like a superficial effort to introduce an "Elektra Lite." Echo, a deaf woman of Cheyenne ancestry, possesses what I guess is a mutant ability to instantly emulate any fighting-skill she sees, combining aspects of Marvel's villain Taskmaster and the autistic heroine "Zen" from the 2008 CHOCOLATE.

Mack and Quesada fill their seven-issue tale with lots of bizarre, Sienkiewicz-style imagery (probably inspired by the example of ELEKTRA ASSASSIN) and lots of decompression-style, pseudo-literary voyages into the heads of Matt "Daredevil" Murdock, Echo, and Kingpin, the nasty villain who sets a potential heroine against a real hero. It doesn't help Echo's reputation that Kingpin gulls the young woman-- to whom Kingpin's been something of a surrogate father-- by giving her doctored evidence that the Man of Fear killed her birth-parent. What, Echo just accepts one piece of evidence as to the hero's turpitude, and seems blithely unaware of Daredevil's numerous years of crimefighting? And, from what Mack and Quesada tell readers, she doesn't even need Kingpin to give her a compelling reason as to why a costumed hero would slay Echo's father-- though Kingpin himself was in partnership with said individual. For me, I downgrade this arc not just because Mack and Quesada indulge in this hoary "frame the hero" trope, but because they're so bad at it.

Echo's tragic past and her various musings are just as tedious and derivative as her motivation for fighting the hero, and her Native American heritage is tossed off in some jejune gibberish about learning "the devil's medicine." Given that Echo is a sexy femme fatale, she soon becomes another love-interest for the main character. However, unlike Elektra, Echo doesn't know Daredevil's civilian ID (though Kingpin does, and curiously neglects to tender that intelligence). So she ends up dating lawyer Matt, and they have some long "date-cute" interactions, though these too seem very dependent on a lot of "blind dating the deaf" tropes. Then, at first opportunity she dons a sexy outfit and gets into fights with the sightless crusader.

The fights are decent, though nothing that would ever make Frank Miller look over his shoulder. But in keeping with the fashionable decompression approach, any tension generated by the action is dispersed by loads and loads of banal wool-gathering in the heads of Murdock and Kingpin about their early years-- all of which had been done better by previous raconteurs on the title. "Hole" takes place shortly after Murdock's first great love Karen Page has died-- not sure if it was for the first time or not-- but the only good thing that comes of this touch is a weird but rather funny joke about how masturbation leads to blindness. And speaking of blindness, Echo does get the chance to take an ironic revenge upon her "bad father," so at least Mack and Quesada provided that much resolution before the character became absorbed into the Marvel continuum.

I also re-visited this introductory arc due to my interest in Native American figures in pop culture. I suspect, given the way the MCU distorts most of its adaptation-material, that reading the arc won't really yield much insight into the streaming show. But such are the sacrifices I make.