Review by Ian Keogh
Considering some of the collections Marvel have issued, it’s surprising that they’d consider a compilation of Howard Chaykin’s work for them over the years not commercial enough, and sub-licence the material to Fantagraphics. However, this isn’t quite the collection one might want, not least due to a dubious cover suggestion of being collected for the first time. True this complete packaging is new, but only the single story hasn’t previously been available in book form.
Chaykin’s always been attracted to period pieces, particularly a pleasingly romanticised version of the mid-20th century as represented by the adventurer Dominic Fortune, so it’s a surprise to see the opener being an SF Western. Monark Starstalker was a series pitch given a trial run in a showcase title, but stillborn when Chaykin followed up by being the allocated the art for Star Wars. A grim bounty hunter tracks his quarry to an icy planet in what still reads perfectly well, but is more notable for the stylised cinematic art.
Next we have Dominic Fortune set in the 1940s, but published in 1980. Chaykin has a presence, but it’s diminished by co-plotting with Len Wein, dialogue from David Michelinie, and Terry Austin producing the finished art from Chaykin’s layouts. A ridiculous villain and anonymous hero confirm this as the weakest of all Chaykin’s Dominic Fortune stories.
He returned to the character in 2009, and while the digital art has dated, over four chapters this is far stronger. Released as part of Marvel’s adult Max imprint, Chaykin gleefully sets out to offend anyone with liberal sensibilities by delivering the unrestrained attitudes of the 1940s using the language of the time. Fortune being unapologetically Jewish gives as good as he gets in what’s a fun adventure accelerating toward the assassination of President Roosevelt while reinforcing there have always been conspiracy theorists. This was previously released in paperback along with the previous inclusion as Dominic Fortune: It Can Happen Here and Now.
Also previously released as War is Hell: The Return of the Phantom Eagle, it’s the final strip that’s the strongest, in all meanings of the term as it was also published under the Max imprint. If there’s another writer Chaykin’s equal when it comes to pushing boundaries in the name of period realism it’s Garth Ennis, and his script redefines Marvel’s obscure World War I flying ace the Phantom Eagle. It’s Ennis’ usual mixture of dark comedy punctuated by moments of shocking farce, but unlike some other artists Ennis has worked with, Chaykin doesn’t oversell the jokes. Except for one gruesome example near the start, which absolutely needed the treatment Chaykin supplies. A coming of age story featuring harsh life lessons occasionally packs in too many lectures about World War I combat, and the comedy and earnestness sometimes don’t mesh, but it’s very readable in redefining an obscurity.
While the good considerably outweighs the average, a gap of 29 years between inclusions is a peculiar editorial choice, not least because other strips from either period are available. At a list price of $50 this is definitely aimed at fans of Chaykin’s work, but anyone not familiar can be advised to take a punt on a master stylist.
