GUNFIRE #13 - June 1995

This is the Way the World Ends!

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey, Charles Barnett, Denis Gulbey, and Ande Parks (inkers), Clem Robins (letterer), Lee Loughridge (colorist)

Summary: After Ragnarok teleports away, Gunfire summons Justice League America to help him stop the chain reaction that’s destroying the Earth’s core. With the JLA’s help, the excess magma is released from the inner core. During their mission, Ragnarok teleports in to taunt Gunfire, who eventually blasts him into a pit of magma. When the Earth is saved, the JLA leave as Gunfire ponders his possible future without Van Horn Industries.

Irrelevant Continuity: The JLA of this era consists of Diana (who’s in her post-Wonder Woman bicycle pants stage), Hawkman, Aquaman (the harpoon-hand version), Crimson Fox, Blue Devil, Fire, Ice (apparently called “Icemadien” in this era), Obsidian, and someone named Nuklon, whose haircut is fantastic. According to a footnote, this story crosses over with Aquaman #9.

We Get Letters: A reader wants to know why Gunfire isn’t Comics Code Authority approved. The editorial response is that the title is CCA approved; the seal disappeared a few issues ago due to “gremlins.” The editor then acknowledges that “we’re all adults here” anyway, which is a pretty shocking admission in 1995 that the Code was essentially pointless. (Or at least that DC perceived it to be; it’s possible that kids were reading this book since comics were still sold on newsstands in 1995).

Review: In the face of overwhelming apathy, DC finally relents and cancels Gunfire with this issue. Someone somewhere still seemed to have faith in the character, though, because the issue’s final page and letter column pretty much confirm that Gunfire will soon be joining the JLA. I don’t think this happened, even if Gunfire would’ve been a perfect fit for this largely forgettable (and somewhat laughable) cast. Unfortunately, the reading public never got to experience Gunfire’s rivalry with Nuklon, his close connection to Blue Devil, his unrequited love for Fire, and that drunken night in Bangkok with Hawkman.

Aside from setting Gunfire up as a future member and providing a “big” finale for the series, it’s hard to understand what the JLA are doing here. Gunfire’s the one who’s stupidly responsible for this problem, and of course he’s the one who provides the final push needed to save the Earth, so it’s hard to see what the point of dragging the JLA into this was. You could argue that the series needed the sales boost, but 1) it was already cancelled and 2) it’s hard to imagine this version of the JLA attracting readers to anything.

So, what isn’t resolved by the final issue? Well, we never learned the secret of Monika, Gunfire’s horny chauffeur with no doubt sinister motives. And, the secret of Yvette’s money troubles was never revealed, nor was the subplot that had her moving in with Gunfire’s aunt Lacey resolved. There are also the mysterious earthquakes that kept striking Hong Kong a few issues ago. And we never learn why Ragnarok has changed his motivation from learning the secret of eternal life to simply destroying the Earth (although I guess his name is a clue.) I’m sure I missed a few other dangling plotlines, but it’s hard to get too worked up about any of this. Gunfire settled into a lull early on and only seemed to invigorate when Chris Wozniak turned in some unexpectedly good fill-ins. The early concept of a young political activist granted lethal powers and an arms company he didn’t want was quickly abandoned in favor of subpar Amazing Spider-Man plots from the early ‘70s. The book never developed much of a personality and its only appeal seemed to be its willingness to be extremely traditional in a period that wouldn’t even allow Superman to have short hair. The old school storytelling didn’t mesh with the basic concept, or the art of Ed Benes, leaving this a title without much of an audience at all.

And even judged as a straightforward superhero comic, Gunfire became too dumb to be taken seriously. Take this issue for instance, which presents a lead character that’s responsible for potentially destroying the planet and killing his father in the course of a handful of pages. At no point in the story does Gunfire have anything that resembles a legitimate emotional reaction to the events. Instead, he’s too busy swooning over the Justice League to even contemplate the ramifications of any of his actions (and, mind you, this is a really crappy incarnation of the Justice League). The guy’s too cardboard to be taken seriously, and I have to say it’s kind of surprising he even got a thirteen issue run.

GUNFIRE #12 - May 1995

Shafted

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey (inker), Clem Robins (letterer), Lee Loughridge (colorist)

Summary: Gunfire races to V.H.I.’s headquarters to witness a test of the laser drill that will harness geothermal energy. Not long after the test begins, Ragnarok enters with his genetically mutated monsters. Gunfire and his friends fight the monsters, but when Gunfire charges the air around him for a final strike at Ragnarok, he’s tricked into firing the energy down the shaft. Ragnarok boasts that the blast will trigger a chain reaction that will destroy the earth.

Review: The letters page announces Gunfire’s cancellation, aborting such promising storylines as “Yvette makes a deal with the devil” and “Gunfire moves to the moon to protect the planet from his powers.” Surely, this is a terrible loss. A fan letter blames the glut of DC releases from this era for the book’s premature end, but it’s hard to imagine Gunfire standing out even without the competition. The hero has no compelling motivation, his personal life isn’t that interesting, and most of his villains have been a joke. It’s hard to find a reason to care, and it’s even harder to discern why Gunfire wants to be a hero in the first place.

The issue opens with Gunfire racing to the demonstration, chiding himself for being late, when he sees a mugging in an alley. He makes a joke about the futility of pretending he can ignore the crime and proceeds to stop it, which would be fine if his name was “Spider-Man,” but at no point in this series has the audience witnessed a convincing character arc that brings Gunfire to this point. He’s gone from reluctant hero to generic superhero pretty quickly, without developing much of a rogues gallery or supporting cast along the way. (Ed Benes’ inhuman artwork hasn’t helped either. Even when the females in this issue run for their lives, they’re still striking Penthouse poses.) He’s a boilerplate hero dressed in ‘90s fashions, and the combination of “bland” and “silly” doomed this book early on.

GUNFIRE #11 - April 1995

Blood is Thicker…

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey (inker), Clem Robins (letterer), Martin Thomas (colorist)

Summary: Gunfire invades Komodo’s mansion, as the Gemini twins locate Billy in New York. Komodo reveals to Benjamin that Billy is a former employee who accidentally got Komodo’s daughter killed during one of his assignments. Gunfire duels Komodo for Benjamin’s life, but can’t win without cheating. The Gemini twins enter with Billy, just as a mysterious earthquake strikes the mansion. Gunfire saves Komodo, and in exchange for his debt of honor, demands Komodo free Billy. Billy thanks Benjamin for speaking up for him, but Benjamin tells him to stay out of his life forever.

I Love the ‘90s: Komodo: “Y-you cheated!” Gunfire: “Welcome to the ‘90s, ace!”

Review: This is the second issue in a row that has the editor begging readers for letters. That’s rarely a good sign. I can’t imagine this story arc inspired much of a reader response, either, unless a portion of the audience is intimately familiar with Hong Kong and wants to nitpick anything the creators got wrong. (Someone might also be inclined to point out that sword duels aren’t particularly common in modern Asia.) This issue does bring us some of the more creative uses of Gunfire’s powers we’ve seen, like what happens when he uses them on two metal dog chains, and there is a decent amount of plot worked into one issue, but it’s really more of the same. The characters are still pretty drab, the ongoing subplots aren’t engaging, and the art is a mess. Thankfully, we’re two issues away from the mercy killing.

GUNFIRE #10 - March 1995

The Hong Kong Shuffle

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey (inker), Clem Robins (letterer), Martin Thomas (colorist)

Summary: Gunfire arrives with Yvette in Hong Kong, unaware that his V.H.I. business associates are plotting against him. His search for Billy leads him to a factory that’s actually a front for the mobster Komodo. In his mansion, Komodo realizes that Billy is a victim of mistaken identity. However, Komodo decides Billy must be the one to pay his brother’s debt of honor. Meanwhile, Gemini searches for Ben in New York, while Lacey informs Ragnarok that Gunfire is in Hong Kong.

I Love the ‘90s: The story opens with a soliloquy on Hong Kong, reflecting on its unknown future after China regains control in 1997.

Review: Hong Kong is a great setting for an action/adventure story, even if Ed Benes is utterly incapable of selling the environment. I’m not saying I expected him to pull out a Geof Darrow, but I never saw Benes’ idol Jim Lee slack off so much when asked to draw a foreign environment. Unfortunately, Benes has replicated far more of Lee’s weaknesses than his strengths. Not that the story is a great inspiration, anyway. It’s nice to see Gunfire and Yvette travel to a new location, but the story does little to take advantage of anything that makes Hong Kong (a.k.a. “Libertarian Island”) unique. Really, we’re just getting more Asian mobsters and familial blood debts. The subplots are also dragging, with five full pages wasted on the Gemini twins getting into a bar fight and an Aunt Lacey/Ragnarok conversation scene. This wouldn’t be riveting with any artist.

GUNFIRE #7 - December 1994

The Big Blow-Out!

Credits: Len Wein (writer), Ed Benes (penciler), Carlos Garzon & Brian Garvey (inkers), Lois Buhalis (letterer), Martin Thomas (colorist)

Summary: Gunfire’s aunt Lacey is targeted by the assassin Blow-Out. After failing to kill her with a car bomb, he invades her hospital room and takes aim. Gunfire, in his civilian identity, is forced to use a nearby I.V. stand as a weapon. As Lacey slips away, Benjamin helps Gunfire escape and return in costume. Gunfire defeats Blow-Out by snatching the pin from his grenade as his helicopter flies away. Meanwhile, the Gemini twins investigate Ragnarok’s headquarters, and shadowy figures stalk Benjamin’s brother.

I Love the ‘90s: “Extreme Crimes call for…Extreme Justice.” I don’t want to focus too much for Extreme Justice since it’s already been such an easy target for comics bloggers, but the ad for the series that runs in this issue is just too perfect.

Review: What can even be said about Blow-Out? Is he a forgotten G. I. Joe from the franchise’s final days, when Larry Hama really had to stretch for names? Is he a lightbox tracing of a Jim Lee Punisher drawing, right down to the headband? Or perhaps a rejected paramilitary parody character from the Slapstick miniseries? At least he isn’t a cyborg…

So, Gunfire faces another weak villain who a) looks ridiculous, and b) is about as much of a threat as L’il Archie. I suppose a small wrinkle is introduced, as Andrew has possibly exposed his secret identity to his conniving aunt, but that’s the only plot advancement that feels as if it might have potential. The subplots have the Gemini twins facing some of Ragnarok’s genetically altered faceless goons, as they embark on a mission the title’s hero couldn’t be bothered with, and Ben’s brother Billy being chased by mystery men with dragon face tattoos. (I wonder, has any comic with an Asian supporting cast member not done a story with the Yakuza or some other form of Asian mobsters?) This title hasn’t exactly been a thrill-a-minute before, but this installment is particularly dull.

GUNFIRE #6 - November 1994

It’s all done with Mirrors

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey & Rus Sever (inkers), Lois Buhalis (letterer), Martin Thomas (colorist)

Summary: Gunfire investigates one of Ragnarok’s warehouses, only to get caught in a trap. He narrowly escapes, leaving with no answers. Elsewhere, his aunt Lacey hires Mirror Master to stop him from announcing Van Horn Industries’ conversion from munitions to alternative energy. As Andrew Van Horn, Gunfire hires the Gemini siblings as bodyguards. When they’re unable to stop Mirror Master from invading the press conference, Gunfire steps in. Using his armor’s technology, he sees past Mirror Master’s tricks and defeats him. Meanwhile, Benjamin is ambushed by his twin brother in his apartment.

Irrelevant Continuity: Mirror Master is upset that someone has been impersonating him. A footnote points to Justice League of America #90.

Review: This is the virtually the same plot from two issues ago, only now the comedy of errors element is gone. Lacey’s back to order more (non-lethal) hitmen to target Andrew before he can give that important speech, and this time she has the date right. The first absurd assumption is that stopping a press conference is actually going to stop a business plan from going forward. As if Apple would’ve never sold an iPad if that original press conference had been interrupted by a 1960s Flash villain. The second is the new direction that Gunfire is forcing upon V.H.I. Wein uses comic book pseudo-science relatively well to justify the switch (a giant laser is now going to be used to explore geothermal energy instead of cutting people into pieces), but how is V.H.I. going to totally change operations in one day? How can the business afford to stay open during the period when it isn’t selling weapons but has no geothermal energy to sell, either? Was this business model dreamed up by Ben or Jerry?

So, the basic plot has problems, but it’s nice to see Gunfire face another non-armored foe, his second in seven issues. Mirror Master is an unexpected choice for Gunfire to fight, and while it’s not hard to figure out how this battle is going to end, Wein has some fun with the action. I don’t know if the Gemini siblings have a compelling reason to be in the story, but there’s a certain logic behind their appearance. If Gunfire truly is a reluctant hero, and he’s rich, it would make sense for him to hire bodyguards to take care of all of the fights he’d rather avoid. That doesn’t mean that Gemini siblings are a gripping concept on their own, though. I get the sense that they’ve appeared in some other series and I’m supposed to be carrying over some existing fondness for them. All I know about them from reading this issue is that they’re freakishly tall, tan, and can’t take on Mirror Master. I’d ask for a refund, Andrew. You’re going to need that money soon, anyway.

GUNFIRE #0 - October 1994

Forward Thrust!

Credits: Len Wein (writer), Ed Benes (penciler), Brian Garvey (inker), Lois Buhalis (letterer), Martin Thomas (colorist)

Summary: Gunfire invades the offices of Ulti/Tech, giving Benjamin time to hack into their records and reveal their connection to Van Horn Industries. Following the trail of a mystery man named Ragnarok, Gunfire travels to a castle in the Adirondack Mountains. After defeating Ragnarok’s armed guards, Gunfire faces Ragnarok. To his horror, Ragnarok reveals himself as Gunfire’s father. In disbelief, Gunfire agitates the air particles around him and creates a giant explosion. He escapes, but discovers Ragnarok is still alive.

Irrelevant Continuity:

· Following the Zero Hour miniseries, every mainstream DC title released a #0 issue. Each zero issue was supposed to reveal a secret about a major character, or serve as an origin recap (or an origin clarification, depending on how Zero Hour impacted the book’s continuity). After Zero Hour, of course, DC continuity was never altered again.

· Gunfire learns how to turn a round object into a grenade, and how to “agitate air” and create explosions this issue.

· Benjamin’s brother is flying to the United States. He has an ominous smile, so you know this isn’t going to end well.

I Love the ‘90s: Benjamin downloads all of Ulti/Tech’s database, including several video files, on to one floppy disc.

Review: Gunfire began as a very ‘90s concept executed in a very ‘70s style (maybe '80s). And while Len Wein is still writing straightforward action stories about a reluctant superhero and his assorted supporting cast members, the capable artwork of Steve Erwin has been replaced by future internet punching bag Ed Benes. Yes, why keep an artist who can draw like Mike Zeck around when you can hire someone who draws like Jim Lee on a bender? This is perfectly logical in 1994.

Benes’ work is pretty much what you would expect here. He really likes Jim Lee, but doesn’t have the underlying drawing skills, so he produces a steady stream of grimacing characters bathed in superfluous detail lines striking awkward ballet poses at one another. The layouts are also a mess during most of the action sequences, making me appreciate Steve Erwin’s clean page designs even more.

The story is on the same adequate-but-not-great level as the previous issues, although the revelation that Gunfire’s father is still alive (“N-no…It’s not possible…We buried you!!”) drags this down past the level of predictable melodrama. Of course his father is still alive and is secretly a supervillain with crazy armor and Dr. Doom’s speech pattern looking for the elusive answer to immortality. That makes perfect sense. In fairness, Gunfire refuses to believe the revelation, so maybe Ragnarok will turn out to be some form of imposter. Still, the shift in direction doesn’t leave me excited for future issues.

CABLE & X-FORCE ‘96 - 1996

Transmission

Credits: John Francis Moore (writer), Luke Ross (penciler), Rob Hunter & Matt Ryan (inkers), Shannon Blanchard & Malibu (colors), Comicraft (letters)

Summary: Pulse, a cyberorganic construct created by Kree rebels, crash lands on Earth after he's shot down by the Shi’ar. Pulse is drawn to the Danger Room, the only location on Earth that is also constructed with Shi’ar technology. The Danger Room’s defense systems interfere with his programming, forcing Pulse to lose his identity and take on the forms of cyberorganic beings in the Danger Room’s databanks. After X-Force places him in custody, Shi’ar soldiers arrive to arrest Pulse. Cable is reluctant to release Pulse because the Shi’ar refuse to name his crimes. Meanwhile, Siryn and Warpath arrange for Pulse to escape through the mansion’s subspace communications relay. As the Shi’ar leave, Cable reluctantly endorses Siryn and Warpath’s decision.

I Love the ‘90s: The team relaxes at the end of the issue by watching The X-Files.

Review: This is fairly typical annual filler; the kind that pays lip service to some of the ongoing storylines but doesn’t actually advance any of them. It’s possible that someone was planning to do a Shi’ar/Kree/Silver Surfer storyline involving the X-books, since this issue ends with Pulse contacting the Silver Surfer (who also guest starred in X-Men Unlimited around this time), but I don’t think anything came of it. Maybe the Silver Surfer series picked up on the ideas. Like the X-Men Unlimited issue, this story portrays the Shi’ar as morally dubious, self-serving imperialists. I don’t particularly like the idea of casting the Shi’ar as villains, since it makes the X-Men look bad for associating with them in the first place. Plus it just reminds me too much of the questionable motivations that seem to have been attached to almost every outer space kingdom, secret society, or cosmic alliance in comics over the years. The major problem with the issue is really the art, though. Large sections of the story just consist of X-Force running around different Danger Room environments, which should be a great opportunity for an artist to show off. Instead, this is Ross in his early Image imitation days, so most of the locales are unconvincing, plus the cast often suffers from ugly faces, clumsy poses, and just bad anatomy.

Denouement

Credits: Terry Kavanagh (plot), Ben Raab (script), Ed Benes (penciler), Joe Pimentel (inker), Mike Thomas & Malibu (colors), Comicraft (letters)

Summary: Cable and Cyclops investigate Apocalypse’s abandoned stronghold in Egypt. While searching for any signs of activity, they discuss the losses Apocalypse has inflicted on their family.

Review: This follows the events of Wolverine #100, which was only a few months old at the time. Killing off minor (and extremely forgettable) villain Genesis wouldn’t immediately seem to have any real ramifications, until you remember that he’s actually Cyclops’ grandson. All of the strange connections that can be made amongst the various X-characters can be either a great strength or horrible hindrance to the franchise, depending on how they’re handled. This story doesn’t really go anywhere, but the basic idea is sound. It also has Cyclops and Cable behaving proactively by investigating Apocalypse’s resurrection, which is something we rarely see the X-characters do.

X-MEN #71 & UXM #351 – January 1998

X-Men #71

A House in Order

Credits: Joe Kelly (writer), Carlos Pacheco (penciler), Art Thibert (inker), Comicraft (lettering), Chris Lichtner/Aron Lusen/Liquid! (colors)

Summary: Cyclops and Phoenix prepare to leave the mansion, as the new members adjust to the team. Wolverine and Storm are skeptical about allowing Marrow to stay, but Cyclops is adamant that the team continue to follow Xavier’s example. Later, Wolverine meets Marrow alone, declaring that school has begun.

Continuity Notes: Sebastian Shaw receives a mysterious package from a mystical bird. I’m almost positive this is one of the numerous unresolved subplots from this era. There are also subplot scenes that involve a package being desperately mailed to Storm from Cairo, and ominous foreshadowing that Maggott’s slugs are up to no good. These stories are actually resolved.

Review: This is a slow, talkative issue that mainly serves to set up a few subplots, write Cyclops and Phoenix out, and give the new members more attention. Marrow’s past as a hardened terrorist is treated rather oddly here, as Wolverine acknowledges that she is a killer, but no one actually brings up taking her into custody. I know the X-Men weren’t there when she killed a homeless man in her first appearance, and she apparently didn’t kill anyone during Gene Nation’s nightclub attack (it seems as if Sack and Vassal were responsible), but that still leaves UXM #325. It’s implied that she killed the man attached to the sewer wall (at the very least, she was present when it happened), and she was more than willing to bomb a group of civilians just a few pages later. There’s no real reason for the X-Men to keep her out of custody, so the story has to play fast and loose with continuity by making vague references to some of the events of UXM #325, but not others. The fact that Marrow remains unrepentant and outright hostile towards the X-Men also makes this harder to swallow. Magneto at least showed remorse for his actions and was willing to stand trial, and Sabretooth was kept as a prisoner with the permission of the government. Marrow’s just free to hang out with the X-Men, even though she clearly hates them, and only a few of them seem to have any real problem with it. Kelly’s able to write some clever interactions between the characters, but this isn’t an idea that stands up to a lot of scrutiny.

Uncanny X-Men #351

Hours & Minutes

Credits: Steve Seagle (writer), Ed Benes (penciler), Comicraft (lettering), Chris Sotomayor (colors)

Summary: Cecilia Reyes leaves the team, hoping to return to her normal life. She faces discrimination during her day at the hospital, and is assigned to treat Pryo, whose Legacy Virus infection is out of control. Daredevil later appears, asking Reyes to treat an infected gunshot wound. He tries to talk her into embracing her powers and using them for good. After Reyes checks on Pyro and accidentally lets him escape, she’s fired. She returns to the X-Men, telling Storm that she thinks she can do good work with the team.

Continuity Note: Pyro is in the hospital after getting shot while robbing a bank. He claims he did it to pay a doctor who claims he can remove mutant genes, which is a setup for a future storyline. The story seems to be confused about Pyro’s powers. He correctly says that he can only control flames and not create them, which doesn’t explain where the fire surrounding his body is coming from.

Review: I believe this is one of the issues Seagle wrote quickly after unexpectedly getting the job, which would probably explain why it focuses on a character that was appearing in the sister title and only offers hints about future storylines. It’s not a bad issue, though, as it manages to create a nice character study of Cecilia Reyes without coming across as a too obvious time-killer. The discrimination she faces during the day is rather predictable, but Seagle still manages to give a few members of the hospital staff fairly well-rounded personalities. Since Reyes spends most of her time complaining about her new life as an X-Man, it’s only logical that someone do a story where she tries to return to her old life, so at least it was gotten out of the way quickly. Benes’ art, however, is an awkward fit. All of the bodies look any generic character from a ‘90s action comic, so the doctors look like superheroes and the nurses look like strippers. A lot of the poses are also stiff, and all of the excessive detail lines have aged badly.