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Archive for the ‘The Shadow’ Category

It took me several pages to figure out what’s different about Shadow No. 7: First-person narration.

Nothing kills mystery like first-person narration.

Shadow 7 starts out with the Shadow temporarily losing his poorly defined powers, and failing to stop a mugging.

He travels to the Mysterious Orient, where he confronts the man who killed his old masters. And, as he puts it, it “bites me in the ass.”

The story continues into Shadow No. 8, where he follows gets into some random adventures in prewar Europe. He’s possibly looking for the killers of a pair of scientists, but the Shadow himself doesn’t even know. As he says, “I have little idea what I expect to find. I’m simply following a trail of bread crumbs fate has tossed haphazardly over its shoulder.”

As part of his new status as an “agent of fate,” he’s collecting clues left by fate, like some kind of two-gun Sam Beckett.

I know how I feel about it. It’s so wrong, I can’t even tell you.

I can see and appreciate what writer Victor Gischler is attempting to do: He’s trying to turn the Shadow into a character, with hopes, fears, an origin and motivation. As he says at the end of No. 7, “There can be no Shadow without a man to cast it.”

I realize I’m violating the laws of fiction, Stan Lee, Scriptwriting 101 and all that Save the Cat jazz, but the Shadow is not a character. He’s a mysterious avenger of crime, who operates under his own motives, whose methods are obscure, and whose origins are known only to him. He can suffer setbacks, or make mistakes, but he never fails. He’s the Master. He is the grim avenger Bruce Wayne pretends to be. He knows what evil lurks in the hearts of men.

The Shadow is so not a character, that his original pulp writer, Walter Gibson would typically include a “proxy hero” so the audience would have someone to relate to while the Shadow was being mysterious. In Gerard Jones’ excellent Shadow Strikes series from the 1990s,the focus was typically on the supporting cast and the Depression-era milieu in which the Shadow operated. He’s just not a character.

(OK, the Shadow was a little bit a character in the radio series and the Alec Baldwin movie. But not much, and he never had a first-person narration. Nothing kills mystery like first-person narration.)

I’m not trying to say that Shadow 7-8 are bad comics. From a straight quality standpoint, they’re pretty good. If they starred Batman or the Green Hornet, I’d be a fan.

But to me, there is no man. There’s just the Shadow.


The Shadow No. 6, the finale of Garth Ennis’ run, starts in the second-most metal way possible:

Then the Shadow humiliates a CIA man, blows up half an army, and routs the enemy. Then it ends in the No. 1 most metal way possible.


But I can’t help but be a little disappointed in this. The Shadow uses his ability to “see fate” (which Ennis just gave him) to predict that Kondo will be in the wrong place at the wrong time, five years in the future. The Shadow I know would never let a villain run that long. There are basically three fitting ends to a Shadow villain:

  1. Killed in collapse of headquarters/explosion of machinery.
  2. Driven to madness, falls of a cliff/building.
  3. Under the Master’s guns.

This is a nerd curse: The need to define things not just as “good” or “bad,” but “right” or “wrong.” Overall, I’m going to give the Garth Ennis run a solid B.

Shadow No. 6 is followed up by Shadow Annual No. 1, which is possibly the most disappointing Shadow comic book story done in the last 40 years. The Master faces down three children, possessed by an ancient evil, who have mind-control and pyrokinetic powers.

The writer again uses the “see fate” power, with the Shadow referring to himself as an “agent of fate.” The “see fate” power is a pretty radical departure for the Shadow, and takes him way out of his wheelhouse. The Shadow has always had an element of the supernatural, but it’s always more of a “one step beyond” variety. The concept doesn’t hold up under this level of practical magic.

The next issue blurb says the Shadow’s power fails him while stopping a mugging, and he travels to the Far East to reconnect with his old masters. “As always, the Shadow faces danger … but he must also look within himself.”

I haven’t read it, so it might be phenomenal. But it’s certainly the worst-sounding idea for a Shadow story since the Archie Comics Shadow series. Sigh.


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