She-Hulk by John Byrne | Review


Published on Oct 15, 2018


This Omnibus presents stories from a series that its output did discuss, arousing the enthusiasm of many readers and the perplexity of many others. The protagonist is the beautiful She-Hulk, one of the most sexy, popular and sympathetic of the Marvel Universe. Jennifer Walters, cousin of Bruce Banner, was created towards the end of the seventies and became the protagonist of a comic-book that I had, however, was a huge success.

His repeated appearances in the Avengers, however, helped make it popular and soon became one of the most appreciated of the Avengers. Things, however, changed dramatically with John Byrne, the acclaimed designer and screenwriter who was making crazy everyone with his run of Fantastic Four. He was a fan of She-Hulk, to the point to create a graphic novel, and decided to put it in the stories of the Fabulous Foursome as a replacement for the Thing.

In this context, Byrne deepened the character. In her version, Jennifer was a strong woman, intelligent, self-confident, at times quite uninhibited, as well as successful lawyer. Most importantly, it highlighted the sexy side, and transform it into a waving from the perfect body, seductive as never before. When, later, Byrne returned to Marvel after his spell in the home DC, proposed, among other things, a head of She-Hulk written by him and drawn. The publishing house accepted the proposal, but, as we shall see, soon everyone noticed that the Sensational She-Hulk was not a series conventional.

First of all, the tones are comedians, but Byrne is not limited to place Jennifer in situations that are funny and ironic. Use it to tease the narrative conventions of comics supereroici, starting from those of the same Marvel. But there is more. If in the Avengers and Fantastic Four She-Hulk is a superhero and just, in his series is aware of being a comic book character. He knows that a certain John Byrne writes and draws the adventures of his and feels the presence of readers that buy the books. In fact, in many episodes is aimed at the public that, in fact, becomes an integral part of the narrative.

With this setting, post-modern and meta-fiction, almost in the style of Grant Morrison, spiazzò several, and the comic-book was one of the most discussed topics of the time. There were then the problems, as we shall see. In this volume you will read the nn. 1/8 and 31/50 of Sensational She-Hulk, with stories designed obviously by Byrne. There are several episodes missing, signed by other authors that were replaced after the ninth number.

In the first eight episodes of John sets the foundation of the series, insisting on absurd situations, quirky and fun, and using, when possible, is character defined by him ‘idiots’.

In the beginning, Jennifer has to face the Circus of Crime, Ringmaster and in the subsequent chapters appear to be Mysterio, Men, Toad Men, the Head, Stilt-Man, the farcical Doctor Bong, Xemnu, the heroes of the series zeta as a Razorback, and even Santa Claus. Ago quotes of classical stories, always with the aim of ironic. If in no. 4 of Avengers, for example, Lee and Kirby had repeated a hero as Timely as Captain America, no. 4 Sensational She-Hulk Byrne is back in the game Blonde Phantom, misunderstood heroine, Timely which will become a guest character fixed of the series in the role of the secretary of Jennifer.

But then the relationship between Byrne and the Marvel soured. The penciler had drawn a page where you could see Jennifer in the nude, in bed with the boyfriend Wyatt Wingfott. Marvel comics, disapproving of the bare and any allusion to sex, censurò the story. Moreover, in the first eight numbers, Byrne created the premises of a development unusual narrative. He meant, in fact, include in the series Lex Luthor, archenemy of Superman, which leaves the books DC and part of one of Marvel with the purpose to seduce She-Hulk. Lex appears fleetingly in some cartoon, but as soon as Marvel realized the intentions of the author stopped everything, for obvious copyright reasons. Byrne, irritated, left the series.

Things later adjusted and Byrne shooting Sensational She-Hulk, no. 31 and went up to no. 50. With a dose of courage not to be omitted, ignored, however, all that had been told by its substitutes, and began to write, starting from the point at which it was interrupted. Planned episodes even more bizarre and meta-narrative of the previous, with characters such as Spragg, the iron Man, the Black Talon, Makhizmo, the aggressive Titania, and even Rocket Raccoon. In practice, it played with the narrative areas the most outrageous of the Marvel Universe, making fun of authors and readers. The culmination of his insane manager came in with the celebratory no. 50, signed not only by him but also by Dave Gibbons, Frank Miller, Howard Chaykin and other masters of the comics.

In this case, She-Hulk, in a sort of What If?, it is placed in a different comic. Miller, for example, imagine how would it be Sin City if she was in the place of the terrible Marv, Chaykin the fa act as the aggressive Dagmar of her Black Kiss, and so on. The result is unsettling. In the volume there is also a short episode from the n, 18 the anthology Marvel Comics Presents, which is nothing more than a simple prologue to the series proper.

The texts and the dialogues of Byrne are effective. The drawings, on the other hand, are spectacular. Anyone who appreciates the fluidity, dynamism and plasticity of Byrne will have bread for his teeth. Needless to specify that the protagonist is a joy to behold, with a statuesque figure from pin-up and the mischievous smile. But also the other characters are well-characterized and changing environments are rich in detail and minute.

Several episodes of the second story-line use, also, of a style to dashed, set to halftone images that make for a more full-bodied and evocative pencils, with amazing effects.
In short, if you love She-Hulk and you want to read a production Marvel really different, you must not neglect this volume.

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