Giant-Size Master of Kung Fu #1 (continued from
here)
"Frozen Past, Shattered Memories"
writer: Doug Moench
pencils/inks: Craig Russell (later P. Craig Russell)
colors: (unknown)
letters: June Braverman
grade: C-
You can still feel the speed at which Moench has been forced to jump into this raging torrent that is Master of Kung-Fu. Three stories for this issue, one for this month's Deadly Hands of Kung-Fu, and one full-length for this month's Master of Kung Fu, all with no pre-existing knowledge of the character (nor, presumably, the genre).
The oddest part about this installment is its disruption of continuity. We can accept that Shang-Chi returned from Flordia after MoKFu #18 and prior to the lead story of this issue, but then this chapter has him still in Florida and clearly does not continue from the previous story's cliffhanger in which Fu Manchu was on his way to "the heart of America...to still it, forever," not off to a museum in Florida in order to smash a statue. I suppose we can assume that the stories were inadvertently arranged in the wrong order and that this should have been the lead story. It's worth noting, though, that Fu Manchu is in the same helicopter he was in at the end of the lead story (though Gulacy and Craig draw the pilot completely differently).
Moench is still trying to figure out how he wants to depict Shang-Chi. The overly poetic play on symbolism and words remains present and still feels too forced at this early point. Additionally, Moench returns to the idea he presented in his Deadly Hands of Kung fu story that Shang-Chi longs for his past (which makes sense considering that his world was uncomplicated and full of certain truths back then). Finally, while he's still playing Shang-Chi as a goody-goody who generally resembles our Western heroes (contrary to Englehart's emphasis on Shang-Chi following a very different moral code from ours), Moench offers us a surprising moment where Shang-Chi decides that the guard who has been giving him a hard time doesn't deserve to be saved, though the statue that's about to be stolen does. Interesting.
This is the earliest P. Craig Russell work I've yet seen, and it's not anything like what we'll be seeing a short time from now on Killraven. If anything, the art is awkward with versatile but uninteresting panel arrangements and some really goofy faces for Shang-Chi, as well as an over-emphasis on motion lines and "Baf!"s, "WUD!"s, and "BUNT!"s to demonstrate action. It feels like an episode of the Adam West/Burt Ward Batman series.
Minor Details:
- So what was Fu Manchu's purpose in smashing the statue that Shang-Chi was trying to save? Is this just another attempt to bait him? Moench could have made this clearer.
- Moench makes it clear in this issue that Shang-Chi is fluent in multiple languages, explaining how he's been able to read and converse in America throughout all these issues.
- Moench and Russell seem to go out of their way to remain vague about who the statue depicts and what religion it represents. We know he seeks it out because it reminds him of his own past and culture. My first thought was Confuscious, but it isn't him. It most closely resembles, Laozu, but the Yin Yang emblem Shang-Chi wears suggests that he is a follower of Laozu and Taoism and, after all, Shang-Chi remarks:
"I am not a follower of the religion which this statue represents...but I love and respect the memory of the man who inspired the statue...as I would any man who preached love and respect. And I appreciate the statue as a symbol of calm...and serenity."So not Laozu.
The newspaper headline at the beginning also states, "Precious Religious Statue on Exhibit at Museum," but why would they not state which religion nor which statue? Come to think of it, why not mention the museum? Was Moench just being lazy?
- Another Moench story that depends too much on coincidence. What were the chances Shang-Chi would be at the museum just as three criminals were loudly discussing plans to heist the very object he was admiring?
plot synopsis in one sentence:
Shang-Chi is still in Florida and stumbles upon a newspaper depicting an Eastern religious statue on display, he visits out of nostalgia for his own culture, is antagonized by a grumpy security guard, overhears three criminals conveniently discussing heisting the statue while he is present, returns later and stops them, only to find the statue smashed at the front steps as Fu Manchu's helicopter carries him away.
"Yellow Claw"
writer: Al Feldstein
pencils/inks: Joe Maneely
colors: (unknown)
letters: (unknown)
grade: B
This reprint from 1956 is included in this issue with the editorial promise that Yellow Claw is "one with whom Fu Manchu's dynasty of terror must one day inevitably clash!". An interesting way to set it up, though, since Yellow Claw is clearly derivative of Fu Manchu, created by Marvel back when they didn't have the Fu Manchu license. The two look identical, both reside in elaborate palaces, both aided by an attractive young daughter, both are from the Manchu minority in China (and the name "Manchu" is dropped more than once when describing Yellow Claw and his home), and both are characterized as all knowing, greatly feared, and with grand plans for world domination. Really the only difference is that Yellow Claw also has the power of mind control and a somewhat unreliable ability to see the future (after all, he sees a world conquered by him), whereas Fu Manchu gets by more on cunning and elaborate preparation.
Interesting curiosity, and Manleey's art is awesome.
So did Yellow Claw ever show up in Shang-Chi's continuity, or were they just overselling a piece of filler content here?
"Reflections in a Rippled Pool"
writer: Doug Moench
pencils: Ron Wilson
inks: Mike Esposito
grade: C
It occurs to me now that Moench isn't really making use of Fu Manchu. Whereas Englehart understood that the appeal of Fu Manchu was his cleverness and imagination, Moench either doesn't get this or is so overwhelmed with writing deadlines that he doesn't have the time to be imaginative. Thus, the Fu Manchu of Moench's stories has existed largely to create conflicts for Shang-Chi from a distance, antagonizing but never really getting involved beyond our seeing him hold his council of seven in the lead story for this issue. Moench is far more comfortable depicting him observing from a fleeing helicopter or, in this case, not depicting him at all.
This is far more of an action story than an attempt by Moench to do anything more with Shang-Chi. Again, it feels clear Moench was writing on a tight deadline and just trying to create content for content's sake. It's ironic, then, that as he began the two features, he poured far more of his heart into Planet of the Apes at the start (creating an original premise for the series and developing characters), while he'd ultimately be better remembered for the assignment he was treating more like a job at this early point.
Fortunately, Moench holds off on the symbolism and word play (other than in the title) and simply lets Shang-Chi outmaneuver a couple of simple bad guys. Action ensues. Blame it all on Fu Manchu at the end, manage to tell a simple moral about prejudice in the process, and you're done.
I did, however, enjoy this one strong line Shang-Chi offered while in the midst of it all:
"I do not fear death...My only fear is losing life before I have fully known it."If they ever make a Master of Kung fu film, that's the tagline for the poster and movie trailer.
Important Details: Assuming Moench wasn't just writing out of his butt and MEANT for these things to count later on, we learn some impressive things about Shang-Chi's abilities here. Namely,
1. He can fly head first through a window at high speed and not get hurt. Is this super strength, martial arts training, etc? Chances are, it was suspension of disbelief and will be forgotten later.
2. He has super dexterous toes. This makes sense, I suppose, but I'm surprised any branch of martial arts would emphasize this in its training.
Minor Details:
- Shang-Chi is STILL in Florida in this story. Are we then to assume that the lead story was a fluke, or was it supposed to follow the other two, with Shang-Chi now back in New York? I suppose only MoKFu #21 will tell...
- Fu Manchu is now totally relegated to being a vehicle for plotlines. His sending clumsy American street thugs to take out Shang-Chi appears entirely motiveless. Such a futile gesture isn't even likely to annoy Shang-Chi, so what is the point?
So Moench's Shang-Chi is still a poor substitute for Englehart's at this point. Englehart knew how to use Fu Manchu and had a firm characterization of Shang-Chi as a former villain looking to change, but change in accordance with a moral code which was different from our own. I found that intriguing. Still, Moench is my favorite writer ever, so I trust fans of this series that his characterization of Shang-Chi will soon improve immeasurably.
plot synopsis in one sentence:
Shang-Chi seeks lodging in Miami and is rejected by a couple of lodgers, seemingly because of his appearance, he is suddenly attacked by some clumsy American assassins, one of the assassins holds the lodgers hostage, Shang-Chi frees them, teaching them a lesson about prejudice, and takes out the assassins, deciding that Fu Manchu sent them.
