Luke Cage: Hero for Hire — I loved these, much prefer Luke Cage to Black Panther though I am not sure why… But maybe I am. My adopted home ground may have been South Central LA not NY, but these are the gritty streets, the hustlers, the African American and Spanish-speaking mix, the dirty cops, the unfair prison rap that you can never come out from under, the community clinic hanging on by the skin of its teeth that I know and love… and I know it’s still almost all white writers, but there’s inker Billy Graham and he had a shot or two.
Look at this opening cover. Maybe I love Luke Cage because it is as much (or maybe more) noir than superhero comic, look at the elements up in this mix:
Straight out of (prison) hell to Harlem… Of course, it’s no surprise that I should think this is more like noir, because they make it hard to miss. There are all kinds of references, Luke’s just another PI, right?
There’s a homage to Dashiell Hammett in The Claws of Lionfang from Graham and Engelhardt, and a hint to what they’re kind of trying to do, but not too hard given Luke’s doing some of that ‘unromantic’ footwork, but it’s all to find a dude who can control giant cats with his mind:
There’s lot’s of this colourful language, like the writers can finally liberate themselves a little…
You gotta love Luke’s reactions to the superhero world too…
I loved this issue. Doom assumes he has to hire a black man to find escaped slave robots who have also disguised themselves as black so they can better hide themselves after they have fled? A creaky setup, but there are some fucking layers here. Reminds me too, of that crazy quote from Ross Macdonald’s The Ivory Grin:
“I think you said she was a Negro”
“I have no race prejudice–”
“I don’t mean that. Black girls are unfindable in this city. I’ve tried.”
— Lew Archer to client
There are these moment when the distance between worlds crystallizes into just a few words, the off-hand commonsensical acknowledgment of just what a segregated society white folks have created, but treat as just the way of things.
Billy Graham comes more to the fore in Retribution, where he is co-scripter and artist. A side story, one of many, showing Luke Cage just can’t stop himself from helping people in trouble, and in this case the victims are the construction workers destroying condemned tenements for ‘yet another round of urban renewal’, and finding themselves trapped (like the tenants once were? are still?).
See, you’re just not going to find references to urban renewal in the Fantastic Four or the other story lines, not like this. I know I shouldn’t be surprised at the world reflected here in such ways, yet still I am. Something about this black superhero allows things to be seen that are usually ignored completely. Then and now. They are suddenly part of the script, a sudden awareness of another reality.
Of course, the city in these stories plays its traditional role in the American consciousness — dangerous and dirty, home to criminals and those on the run. Still, it’s refreshing to see an ex-prison guard referred to in such terms, who’s the criminal now?
This guard advertises to find a job for himself in the personals? Almost makes you nostalgic….Check out these homemade costumes as well, they are pretty awesome…
Back to Rich Man: Iron Man — Power Man: Thief. George Tuska artist, Graham inker, Len Wein writer. And the moment Luke Cage becomes Luke Cage (Black) Power Man. A little Black Power never goes amiss. Sadly he also starts calling people sugar.
Of course in this world you can’t just take on a name like Power Man and think you won’t get challenged by the last dude who had that name already. This is from The Killer With My Name — Tony Isabella with assist from Len Wein, drawn Ron Wilson, inked V Colletta — check out those middle panels:
You can see, though, that they keep switching the team around, not like Black Panther who got a solid run at a consistent identity.
On to Essentials Book 2 – My old favourite flowery comic book philosopher, from the Black Panther in fact, Don McGregor writes some deep thoughts in Look What They’ve Done To Our Lives Ma!:
But in later issues the writing starts shifting around, as does Luke’s character. He is more and more violent, thinks less and less, then thinks more… they’re reaching to figure out what to do with him, so there’s Chicago storylines from Marv Wolfman as editor/plot and Ed Hannigan guest scripter, with Mace — just another vet who didn’t get the help with his PTSD that he needed:
Luke running around trying to foil some harebrained scheme. And still succeeding with the ladies…
I don’t know why these panels make me laugh at loud, but they do. By the end of the volume it’s C. Claremont and Tuska
My favourite issue will be in a separate post — good old Mace starts up a gated community in the middle of nowhere and they try to blow up the Greyhound Bus Luke is on because it comes too close to their territory… I can’t even begin to describe how interesting that set up is to someone working on race and geography. Jaw dropping really. So I’ll keep that separate. It’s been interesting watching Cage change, get reimagined, first to be kinder, then to be more physical — though in truth all he knows to do is just go smashing in no matter what the odds.
I love it.
Sadly at the end he teams up with Iron Fist.
Oh, Iron Fist.
I might write about that essentials Vol. 1, I read them because Luke Cage comes in at the end…I also like the women in those stories I confess.
I might write too about the new Luke Cage series. I enjoyed them immensely, though I’m a little bit conflicted about some things maybe.
Anyway, to end with a little salute to Billy Graham.